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Thirukkarugaavoor Sri Garbharakshaambigai

2011-07-13T23:47:03Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Thirukkarugaavoor is about 20 kms from Kumbakonam. This is an unique temple of Lord Shiva and Parvathi who bless the world as Sri Mullaivana Naathar & Sri Garbharakshaambigai here. Legend has it that, thousands of years back this place was called Mullaivanam (forest filled with Jasmine creepers). There lived a saint by name Nidhruva Rishi along with his wife Vedhika in Mullaivanam. They remained childless for years which was making them depressed. They took the advice of Gautama & Karthikeya Rishis and started worshiping Lord Shiva and Parvathy at the temple here.

After sincere prayers Vedhika became pregnant. The couple were very happy. When Vedhika was in the final trimester of pregnancy, Nidhruva Rishi had to be out of home to visit Sri Varuna. One day, after tiring house hold chores and the pain due to pregnancy, Vedhika was lying down and taking rest. When she was half asleep, a Rishi called Urdhvapaadha came at the door calling for Bhiksha. Vedhika didn’t notice the Rishi and didn’t respond to him with her hospitality. Saint Urdhvapaadha, without knowing the pregnancy of Vedhika, thought that she was ignoring him and cursed her to be affected with a serious disease.

The curse started affecting not only Vedhika’s health but also that of the baby in her womb. The fetus got deformed and Vedhika realized that it was because of the curse by Saint Urdhvapaadha. She prayed Goddess Parvathi Devi at the temple for rescue. The Goddess with her fullest mercy collected the deformed embryo in a divine pot and made it to evolve as a healthy baby. Vedhika was blessed with a beautiful male baby and they named him Naidhruva. As there was no mother’s feed for the baby, Goddess sent Kamadhenu to arrange milk for the baby. Kamadhenu appeared and scratched her legs on the ground and a milk pond formed there on the earth, for the baby.

The pond then formed is called as ‘Khseera Kundam’ (Milk Pot) which is today’s temple tank in front of this temple. Vedhika’s husband Nidhruva came back and was thrilled to hear the whole story and the mercy of the Goddess. The couple prayed the Goddess to take abode in the same village and bless every couple who pray them, with the child and safe pregnancy. The Goddess agreed to them and settled down in Mullaivanam in the name of Sri Garbharakshaambigai (meaning the savior of fetus). From then, the village also got its name as Thirukkarugaavoor (Thiru – God, Karu – Fetus, Kaa – saves).

Even today Sri Garbharakshaambigai blesses the childless couples with the child and also the pregnant women for safe delivery of baby. According to the native villagers, to their knowledge, none of the women at Thirukkarugaavoor has ever had a miscarriage or any fatality during delivery. In this temple Ghee is offered as Prasadham for the childless couple which they have to take everyday for about 48 days. Also a Sloka (given below) is given at the temple to be chanted by the expectant mother to pray Sri Garbharakshaambigai, everyday till delivery.

“Hey Sankara samarahaa Bramadhaadhinaadhari
Mannaadha saramba sarisooda
harathirisoolin Sambo sugaprasava
grudh bhavamey dhayaalo
hemadavi vanesa paalayamaam namaste!

Himavath yudhdharey paarsvey
suradhara naama yaashinee
Thasyaaaa smarana maathrenaa
vichalya gharbinee bhavethu!!”

'''Transliteration :'''

ஹே ஸங்கர ஸமரஹா ப்ரமதாதி
நாதரி மன்னாத சரம்ப சரிசூட
ஹர திரிசூலின் சம்போ சுகப்ரஸவ
க்ருத் பவமே தயாளோ
ஹேமாதவி வனேஸ
பாலயமாம் நமஸ்தே!

ஹிம்வத் யுத்தரே பார்ஸ்வே
ஸுரதர நாம யாஷினீ
தஸ்யா ஸ்மரண மாத்ரேணா
விசல்யா கர்ப்பிணி பவேது!!

Castor oil is offered as Prasadham here, to the pregnant women to be applied on their abdomen during pregnancy for a safe labor. Everyday, one can witness many couples happily coming back to the temple with their new born to thank the Goddess and seek her blessings by keeping the baby at her Lotus Feet. Lord Shiva here, is in the form of Lingam. It is said that the idol here is made of ant hill mud (Putru MaN) and is a Swayambu Murthy (which evolved on its own). Hence there are no Abhishekams here for the Lord. Instead a rare fragrant herb called Punugu is applied on the Lingam (Punugu Chattam).

It is believed that by offering Punugu Chattam to Mullaivana Nathar, one gets relieved of any kind of skin diseases. One can see the impression of the Jasmine creeper on the Shiva Lingam here, as this place was full of Jasmine creepers which were covering this Lingam. Another rare feature is the moon rays falls directly on the Lingam here during the Full moon day of Thamizh month, Panguni.

'''Temple Address:'''

Sri Mullai Vananathar Thirukkoil,

Thirukkarugavur,

Papanasam Taluk.

Thanjavur District. Pin : 614 302. Tel : 04374 – 273423.

[[Category:Temple]]

Maangaadu Sri Kamakshi Amman

2011-07-13T23:15:01Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Maangaadu is a small beautiful village located on the outskirts of Chennai near Poonamallee. As per the legend, one day in Kailash, Parvathi Devi playfully closed the eyes of Lord Shiva from behind, with her palms. As a result of this, the whole universe was surrounded with darkness and all the living beings suffered. Lord Shiva became angry and the Goddess craved for his pardon. Lord Shiva guided her to the earth and asked her to perform a severe penance to join him again. As per the God’s instructions she came down to earth and reached this place of dense Mango grove called Maangaadu. (means ‘Mango forest’ in Thamizh)

She started her rigorous penance here in the standing posture on the Panchagni (Fire). She stood one legged on Panchagni with right leg folded. She was holding her right hand raised above her head holding the Japamala (Rudraksha). Even today we can see this Moorthi of Sri Tapas Kamakshi at Maangaadu. This Panchagni Sadhana is not an easy task. This Panchagni penance is performed to kill five evils which dominate people and lead them into misery. The five evils are Kama (Desire), Krodha (Anger), Lobha (Greed), Madha (Ego) & Maacharya (Attachment). If one wins over all these five they can attain the supreme bliss.

Lord Shiva, who was happy with her penance, came down to earth to marry her. He gave dharshan to her in Maangaadu and married her at Kanchipuram, where even today they both bless the devotees at Ekambareswarar Temple. There is a temple for Lord Shiva where he came down to meet her. This temple is Velleeswarar Temple located nearby Kamakshi Amman Temple. Also there is another temple for Lord Vishnu (Vaikunda Perumal temple) in Mangadu. It is said that Lord Vishnu, being the brother of Goddess Parvati came for the wedding with Kanayazhi (gem stone ring) for Parvati as his gift (சீர் வரிசை) is still waiting here, as the wedding didn't happen at Mangadu.

Even after Goddess left the place, the power of the Agni didn’t subside, out of which the whole place in and around Maangaadu suffered with unbearable heat and the Ugram of the Goddess. Sri Aadhi Sankaracharya, during his visit here, installed an Ardhameru Sri Chakra and brought down the heat and ugram of the place. This Sri Chakra is rare and one of its kind in the country and not seen anywhere else. Even today, no abhishekams are performed to the Sri Chakra as it contains rare herbs. Only Kumkuma Archana is performed that too only to the Sri Chakra and not the idol, as the powers of Sri Kamakshi Amman has been instilled in the Chakra by Sri Aadhi Sankaracharya.

The idol Sri Aadhi Kamakshiamman made of Panchaloha (5 metals) was installed by Sri Kanchi Paramacharya Swami in the later years. Six weeks worships are very popular here. The devotee who has some prarthana or wish can choose any one day of the week and to visit the temple along with 2 lemons, of which one will be retained at the temple and the other one has to be taken back home. Again the following week, on the same day, he or she has to carry the old lemon from home along with 2 other fresh lemons. Like wise, if one visits on the same day for six weeks continuously, the Ambaal grants the wishes of the devotee.

Golden Chariot is very popular here which is pulled everyday between 6.30 and 7.30 pm. Maangaadu is just 24 kms from Chennai city and is located off the Chennai Bangalore highway on the way from Poonamallee to Kunrathur.

'''Temple Address:'''

Mangadu Sri Kamakshi Amman Devasthanam, Mangadu, Chennai – 602101. Tel: 91 44 26272053. email : mangadukamakshi@sancharnet.in

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Srivilliputhur Aandal and Sri Vadabadrasayee

2011-07-13T23:07:07Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Centuries back, there lived a devotee of Lord Vishnu called Vishnu Chithar. Also called Periyazhwar, he has been living in Sri Villiputhur near the temple of Vadabadrasayee Perumal offering prayers to the Lord every day sincerely. One day Periyazhwar found a baby girl in his Thulasi Garden. As per mythology she was born in Kali Yuga 98, in the month of Aadi (again believed to be inauspicious) in Puram Star on Tuesday (note the day) in Sri Villiputhur during Pandya Dynasty. According to the above belief her date of birth is 8th June 3004 B.C. Anyhow many modern historians opine that she lived during the 8th Century AD. Whatever be it, she lived atleast 1300 years before present.

Periyazhwar who was doing poojas to “Sri Vadabadhrasayee” (Perumal) temple at Srivilliputhur, found her in his garden and brought her up. He named her “Kodhai” and she grew up as an ardent devotee of Lord Vishnu there. Her Bhakthi, transformed into love towards God and she wanted to marry Him.

Periyazhwar used to pick Thulasi leaves from his garden, weaved them into garland, keep it in a basket carefully to offer it to the Lord. One day, out of innocence, Kodhai took the garland, adorned herself with it to see in the mirror whether she would be a suitable bride to the lord. Periyazhwar saw this act of Kodhai and got furious with her and weaved another fresh garland and offered it to the God. To his surprise, the garland fell down from the God's shoulders. He tried many times but didn't succeed. He got worried and prayed the God. He heard a voice saying “Why didn’t you offer me the garland woven by Kodhai? I am eager to adorn the garland touched and felt by my devotee, Kodhai. She is not a mere mortal. She is born for me”

Periyazhwar (also called Vishnuchithar), then offered the garland which was woven by Kodhai and God accepted his offering. Thereafter he garlanded the Lord everyday, after trying it first with Kodhai. Even today, its in practice that the garland is offered first to the Aandal at Sri Villiputhur and the same is removed and sent to Thirupathi to adorn the Lord during Brahmotsavam. Also similar practice is followed for Kallazhagar festival at Madurai, where Kallazhagar wears the garland which is already worn by Aandal at Sri Villiputhur.

Also in Sri Villiputhur temple, Aandal is garlanded first and the same garland is offered to the Lord. When Kodhai attained the age for getting married, she was too fascinated with Lord Ranganathar of Sri Rangam as she has heard about Him from her father. Periyazhwar meditated to God without knowing what to do. God appeared in his dreams and said not to hesitate to get his daughter married to him. God also made him realize that Kodhai was none other than Bhudevi herself. Kodhai (Aandal) was carried in a palanquin to Sri Rangam and she entered the inner shrine of Sri Ranganathar and joined as the eternal light with the Lord.

Aandal has given the world, two great masterpieces of literary works;Thiruppaavai and Naachiyar Thirumozhi, which are even sung today with utmost devotion in temples and homes during the month of Maargazhi. Thiruppaavai, starts with the lines “Maargazhi Thingal” (மார்கழித்திங்கள்), celebrating the dawns of Maargazhi with prayers to Lord Vishnu. The temple tower was built in 8th Century and is one of the largest in the country. The temple is located in Virudhunagar District of Tamilnadu. And this tower stands the symbol of Government of Tamilnadu.

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Vedasreni Sri Dhandeeswarar

2011-07-13T22:57:09Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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This wonderful temple is located in Chennai on the way from Saidapet towards Pallikaranai.

'''Legend'''

Sometime during Threthayugam, an Asura by name Somugasura stole all the 4 Vedas and kept them under his custody.To retrieve them Lord Vishnu took the incarnation - Matsyavatar and killed the demon, retrieved the Vedas and handed them over to Brahma. As the Vedas were under the Asura’s custody, these were affected by Asura Dhosha. As per Brahma’s advice all 4 Vedas came to this Kshethra, installed the Murthy of Lord Shiva and worshiped Him.

As 4 Vedas together worshiped here, the place came to be known as Vedasreni, which is today’s Velachery. It is also believed that, since these Vedas and many other sages had performed Yagnas (Velvi in Tamil) here, the place got it's name as Velvichery which turned out to Velachery of today.

According to another legend, in Dwaparayugam, lived Markandeya, son of Sage Mrigandu and an ardent Shiva Bhaktha. As Markandeya’s life span was determined to be 16 years, Yama came to him on completion of that period, to take his life away. Frightened, the young boy hugged the Shiva Linga surrendering to Lord Shiva. Yama threw his rope (Paasakkayiru in Thamizh) on Markandeya which fell on him as well as Lord Shiva’s idol. By this act of his, Lord Shiva got angry with Yama and took off his Dhanda (Yama’s weapon). Yama, as per Sage Naradha’s advice came to Vedasreni and formed a Theertham (Pond) and worshiped Lord Shiva here. Hence, the temple pond here is known as Yama Theertham.

As Yama worshiped to get back his weapon (Dhanda), Lord Shiva here is called as Dhandeeswarar. The temple is believed to be built during the 11th century. Many inscriptions of Chola Dynasty during 11th Century are seen here. This ancient temple is located on the Velachery Road. The presiding Godess is Karunambigai. Yoga Dhakshinamurthy is also present here in an unusual posture. Other deities are Sri Chandrasekarar, Sri Mahalakshmi, Sri Saraswarthi, Sri Subramanyar, Sri Brahma, Godess Durga, Mahavishnu, Lord Sokkanathar and Meenakshi, Sri Vaitheeswarar and Sri Mahavishnu.

Pradhosham days are celebrated well in this temple. Though along the main road, the temple has a very calm ambience and one can feel the divine vibrations here.

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Madambakkam Sri Dhenupureeswarar

2011-07-13T22:43:18Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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This ancient temple dedicated to Lord Shiva, is located in the suburb of Chennai called Madambakkam, near Tambaram. This temple is over 1000 years old (956-973 AD), which is said to have been built during the reign of Parantaka Chola II or Sundara Chola, father of Rajaraja Chola 1 (who constructed Brihadeeswarar Temple in Thanjavur). The temple is believed to be rebuilt of stone during the reign of Kulothunga Chola1.

According to the sthala purana, there was a rishi called “Kapila” who was performing penance to Lord Shiva to attain Mukthi. He possessed a Shiva Linga for which he was performing pooja everyday. One day during his pooja, he was holding the Shiva Linga in his left hand and doing Abhishekam with milk in his right hand. He was caught with a Dhosha as he had held the idol in his left hand.This sin, resulted in his not attaining Moksha. Because of the Dhosha, he had to take another birth as a cow and live that life praying to God, in order to attain Moksha. He took birth as a cow in the village of Sitreri and was grazing near a lake in South India. One day, the master of the cow saw the cow emptying its udder of its milk on a small stone buried in the ground. He angrily hit the cow for having wasted its milk. Unable to bear the pain, the cow stamped it’s leg on the ground where it hit the buried stone. When the stone started bleeding, the man got frightened and called all the villagers who dug the ground and excavated a Shiva Linga. The master of the cow prayed to God to forgive him for his folly.

Lord Shiva appeared and said that it was his act for the sake of Kapila Rishi, who was born as the cow. Kapila Rishi also apologized to Lord Shiva for having kicked on the head of the Linga. Lord Shiva forgave him and Kapila attained Moksha.

The people then informed the king who was coming on a visit towards Sitreri. The king arranged to construct a temple for Lord Shiva there and the God was named as Sitrerinadhar and Goddess, Nampirattiyar. The place where people met the king alongside the lake is today’s Rajakizhpakkam. And the village Sitreri (means small lake) is now called as Madambakkam.

The presiding deity is called Lord Dhenupureeswarar (facing the east) and the Goddess, Dhenukambal. Unlike most temples, where the sanctum is either square or rectangle, this is apsidal in shape which is called as Gaja prishta Vimana (Shaped like an elephant’s back) in Sanskrit. This type of feature is found in few other Chola temples in and around Chennai. Even today we can see a scar on the Shiva Lingam, caused by the Cow (Kapila) while it kicked the ground because of the pain when it was beaten up by its master. Lot of contributions have been made to this temple by Vijayanagara rulers. Many sculptures in the walls of this temple, stand testimony to the subsidies given to this temple in the form of lands, livestock, jewels etc.,

There is a large tank adjacent to this temple filled with water. This also serves as a water source for the people living around the temple. Saint Arunagirinathar (15th Century A.D.), has composed a hymn on this temple. This ancient village, now called Madambakkam, was also known as Ulaguyyavanda Chola Chaturvedi mangalam in the past. Festivals like Pradhosham and Panguni Uthiram are celebrated with pomp here. Another rare feature of this temple is, it houses Lord Sarabeswarar on one of the pillars in it. Lord Sarabeswarar is another form of Lord Shiva who took this form to bring down the anger and ferociousness of Lord Narasimha. Lord Sarabeswarar took the form of Yazhi bird with human body and eagle's wings having Godess Durga and Godess Maha Prathyangira Devi in each of his wings.

Poojas are performed here to Sri Sarabeswarar on Sundays during Rahu Kalam (4.30 to 6 PM), which attracts hundreds of devotees here. Both Saiva and Vaishnava sculptures and carvings on the pillars and walls, beautify this temple. The temple now is under the control of Archeological Society of India. The temple is situated between Tambaram and Medawakkam near Rajakizhpakkam. There is also another rare temple nearby, housing 18 Siddhars, Sri Seshadri Swamigal and Maha Meru (Lalitha Parameshwari) which together with Dhenupureeswarar temple gives divinity to the whole village and every visitor entering there.

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Talk:Woraiyur Sri Vekkali Amman

2011-04-19T23:32:59Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Located just seven kilometers from Trichy, Woraiyur houses a beautiful and prominent temple called Sri Vekkaliamman. Since ages, Woraiyur has been an important city around Trichy. It was the capital city of the ancient Chola empire. One of the Azhwars called "Thiruppaanaazhwar" was also born here. Two chola Kings, Pugazh Chola Nayanar and Gochenkan Cholan were born here.

'''The Temple'''

Sri Vekkaliamman Temple is situated in Woraiyur. The Amman is facing north. It was believed by the ancient kings that Gods and Goddess who personify valour would bless the kings with victory in battle. Hence all the ancient kings used to pray Vekkali Amman before leaving for the battle field. Gochenkan Chola who was born in Woraiyur, built this temple of Goddess Shakthi.

'''Mythology'''

An ancient saint, Sarama Rishi, who lived in Woraiyur had a wonderful garden with rare flowers in it. He used to worship Thayumanavar Swamy of Trichy everyday, offering garlands made of flowers from his garden, to Lord Shiva. A local florist, Pranthakan, saw the beauty of the flowers from his garden started taking flowers from Sarama Rishi's garden, and started supplying them to the King in the palace, to keep himself in the good books of the king. The king was very pleased with the flowers, and so Pranthakan started stealing flowers regularly. Eventually, Rishi noticed that everyday, there were some flowers missing from his garden.

One day, the sage found that Pranthakan was the culprit and complained to the King, saying that the flowers were meant exclusively for Lord Thayumanavar. The king didn't give an ear to it, as he liked receiving those flowers. With much grief, the sage went straight to Lord Thayumanavar praying to him to put an end to Pranthakan's activity. The Lord turned angry after hearing this. The deity, hitherto facing east, turned west (towards Woraiyur), and with his powerful eyes open, created a huge sand storm that ruined the entire city of Woraiyur. Sand was filled everywhere, burying the city completely. People were helpless and didn't know the reason for the sudden sandstorm on Woraiyur. They went and surrendered to Vekkali Amman, praying to save them.

The Goddess went to Lord Thayumanavar and prayed, asking him to reduce his anger. Thayumanavar subsided his anger and the sand storm came to a halt. People thanked the Goddess for saving them. Though the sand storm stopped, the people of the city had lost their homes in the storm and now had no shelter. Hence, the Goddess also decided to live in a temple without a roof, until everyone in the city had built a shelter for themselves. From then till today, Vekkaliamman temple doesn't have a roof. The Moolavar is open to the sky, be it rain or shine. It is said that, many attempts have been made to build a roof for this temple at various times, which ended in vain. Even today, the main diety "Vekkaliamman" does not have a roof for herself. This story has been narrated by renowned Tamil poet Ottakkoothar.

'''How to reach'''

This small but beautiful temple is just 7 km from Trichy City. Many buses and taxis are available from Trichy city.

'''Temple Contact'''

Uraiyur Vekkali Amman TempleTrichy - 6260003. Tel : 91-431-2761669

[[Category:Temple]]

Thiruchi Sri Thayumanavar Swamy

2011-04-19T23:25:36Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Tiruchirappalli was earlier known as Thirisirapuram, because a Rakshasa called Thirisiran worshipped Lord Shiva here. Legend has it that since there are three peaks on the Rock Fort hill, occupied by three Gods, Shiva, Parvathi & Vinayakar (Uchi Pillaiyar), the place was named Thiri-sikarapuram and later called Tirisirapuram. This place was also known as Sirappalli, Rishabachalam & Dhakshina Kailasam during ancient days. The Rock Fort hill is beleived to be formed hundreds of thousands of years back, according to archeological sources.

According to mythology, once there was a great tussle between Aadhiseshan and the wind God Vaayu, about who was more powerful. Aadhiseshan encircled the Maha Meru hill (Himalaya) and challenged Vaayu to take the Himalayas off his powerful grip. Vaayu tried very much to free them, but to no avail, and eventually accepted his defeat. It is said that during the fight, there had been a lot of natural calamities like floods and cyclones. And three pieces of the mountain broke off and landed in different places. Out of the three pieces that broke off is the Rock fort at Trichy. The other two are at Triconamalee (Ceylon) and Sri Kalahasthi (Andhra Pradesh).

'''The Temple'''

Arulmigu Thayumanavar Swamy temple (also known as 'Chevvandhinadhar') is situated on the Rock Fort enroute to the Uchi Pillaiyar Temple on the hill top, at the heart of the present day city of Trichy. According to legend, there was a woman living on the other side of river Cauvery, who visited this temple everyday. She had been visiting the temple for many years, which she continued to do even during her pregnancy. One day after she finished the Darshan, she found that the river was flooded and impassable. As she waited for the river's flow to subside, she developed a severe labour pain. Since she was in labour, people around stopped her from going back home. But the woman was desperate to go back home to her mother, who was the only person she trusted enough to help her get through the labour pains.

Lord Shiva came to her, disguised as her mother, and helped her deliver the child safely and then disappeared. Later when her actual mother came asking for her, the woman realised that it was Lord Shiva who came to her rescue in disguise. As Lord Shiva himself served her devotee as her mother, here the main diety is called as "Thayumanavar" (God, who is also the "Mother") This incident is also celebrated as a special event called "Chettipenn Maruthuvam" on the fifth day of the Chithirai Festival at the temple. The name of the Ambaal is "Mattuvarkuzhali".

After climbing around 200 steps from foot hill of the "Malaikkottai", one can reach the Thayumanavar temple. The temple is said to have been built during the 3rd century by Pallavas. This temple was occupied by Jain Saints and later was destroyed by Mahendravarman, who then constructed a Shiva Temple in its place. Pregnant women and their husbands pray to Lord Thayumanavar for a safe delivery and offer plantains to the God after delivering healthy baby. One can see people carrying "Vazhaithaar" all the way up to the temple, and after offering to Thayumanavar, they distribute it among other devotees in the temple.

Thirugnana Sambandhar, Thirunavukkarasar, Manickavaasagar and Thayumanavar have written many hymns in praise of Lord Shiva here. Thiruchi is well connected by ample trains and buses from Chennai and other parts of Tamilnadu. Buses also ply from both Central & Chathram bus stands of Trichy. One can alight at Main Guard Gate or Theppakulam to reach the temple.

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Talk:Aranmula Sri Parthasarathy Swamy

2011-04-19T23:15:36Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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'''The Temple'''

One of the most ancient and among the 108 Dhivya Dhesams, "Aranmula", a beautiful village, is located near Chengannur (Kerala). This temple is also called as "Thiruvaranmula". The presiding diety is "Sri Parthasarathy Swamy" and the Godess is "Padmasani Thaayar". The great Tamil poet, Nammalwar, has sung several hymns in praise of Sri Parthasarathy Swamy, thereby furthering this temple's prominence. In Tamil the village was called as "Thiruvaaranvilai" and the main diety as "Thirukkuralappan". The river Pampa flows through this village just next to the temple, making it a peaceful and picturesque scene to behold.

According to the legend, the five Pandava princes crowned their heir Parikshit as the king and left on a pilgrimage around the country. When they were in Kerala, each one of the brothers established a temple in honor of Vishnu and worshipped there. Yudhishtira built a temple at Chengannur, Bheema built one at Thiruppuliyur, Arjuna at Aranmula, Nakula at Thiruvamundur, and Sahadeva at Thirukkadittaanam. It is said that Arjuna initially made this Vishnu temple at Nilakkal, near Sabarimalai, and then it was brought here on a raft made out of six pieces of bamboo. And hence the name Aranmula stuck ('Aranmula' means six pieces of bamboo). It is believed that Arjuna built this temple to absolve himself of the sin for having killed Karna, who was Nirayuthapani (weaponless) on the battelfield (according to Dharma, one is not supposed to kill an unarmed enemy in battle).

The temple is constructed on a vast landscape and has four towers over its entrances on the outer Praakaram. The entrance of the eastern tower has a flight of eighteen steps. The northern gate leads down to the river Pampa. During the Malayalam month of Meenam, Aranmula witnesses a grand festival where Aranmula Parthasarathy is taken on a grand procession on Garuda (Garuda Vaahanam), while an image of Bhagawathi from the nearby Punnamthode temple is brought in procession for the Aarattu festival.

'''Unique Features'''

Aranmula is located just few kilometers from Pandhalam, the birth place of Lord Ayyappan. Till today, when the Sacred Jewels (Thiruvabharanam) are carried on foot from Pandhalam to Sabarimalai each year, the jewels are kept here for rituals, and then carried onwards to Sabarimalai. The famous Boat Race (Vallam Kali) is another major attraction in the Pampa river of Aranmula. Every year, during the Onam festival, participants come from all parts of Kerala to participate in the race. The snake shaped boats are about 100 feet length, with four helmsmen, 25 singers and 100-125 oarsmen. They are meticulously decorated and prepared for racing during Onam.

Many foriegn tourists visit this place during Onam for experiencing this event. Aranmula is also famous for its metal mirrors, made of a kind of bell metal, popularly known as "Aranmula Kannadi". Invented during eighteenth century, these unique mirrors are not found anywhere else in the world. The mirrors are made by a mysterious blend
of bronze, which is waxed until they produce crystal clear reflections. Metal mirrors here are not made with any form of glass but instead are made using only the bell metal alloy.This unique science of mirror-making is known only to a few families in Aranmula, where the production techniques are held secret and passed down from one generation to the next.

'''Getting There'''

Aranmula is situated 9 kms to the west of Chengannur. Chengannur is well connected by road and trains. Buses also run from Chengannur to Aranmula. Ask the driver for "Aranmula Ambalam", the bus stop in front of the temple. It is also accessible from Pathanmthitta by bus.

[[Category:Temple]]

Talk:Thenkudi Thittai Guru Bhagavan

2011-04-14T22:58:01Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:TTGB1.jpg|thumb]]
[[image:TTGB2.jpg|thumb]]

'''The Temple'''

Vasishteswaraswamy temple is a very ancient temple situated in a village called "Thittai", near Thanjavur. The temple is situated on Thanjavur - Melattur Road on the way to Thirukkarugavur, about the 10 km from Thanjavur. This temple is also called "Thenkudi Thittai" since it is situated south of the river Cauvery.

The presiding diety is Swayambootheswarar and the Godess is Ulaganayaki. The main diety got the name "Swayambootheswarar" by virtue of being a Swayambu Lingam (Swayambu=Self-forming). He is also called Vasishteswarar, as he was worshipped here by Saint Vasishtar. "Thittai", the name of this village, means "Thittu" in Tamil, which means a mound. When the whole world was surrounded by water because of "Pralayam", Brahma and Vishnu worshipped Lord Maheshwara for protection. After wandering fervently for a safe place, they found this mound, which was the only piece of land that did not submerge in the Pralaya waters. Furthermore, there was also a Shiva Lingam on it. They performed Pooja to the Lingam and worshipped Lord Shiva, who appeared before them and delegated their duties of Creation and Protection. It is beleived that this is the only place which was not destroyed during Pralayam.

Unlike many other temples, here the complete temple was built using stone. This construction style is used not only for the main dieties, but all other Sannidhi's are also constructed using stones, right from the floors, to the pillars, walls and roof. A unique feature of this temple is that a drop of water falls on the Lingam (Main Diety) exactly every twenty four minutes (one Naazhigai) from the roof. But for a small hole, there is no other source of water on the Vimana of the main diety.

Two stones, "Suryagaanthakkal" and "Chandragaanthakkal", which are placed at strategic points above the Vimana, are the reason why the droplets of water fall on the diety. These two stones absorb moisture from the atmosphere, convert into a single water droplet, which then performs a natural Abhishegam to the diety when it falls. This happens every twenty four minutes (one Naazhigai), be it day or night. Because of this, the small piece of yellow cloth (dhothi) that covers the Lingam is always wet. If one is willing to wait patiently, this amazing spectacle can be readily observed. The preciseness in space and time with which the water droplets fall show the scientific and architechtural brilliance of the architects of this temple.

The temple tank situated opposite the temple is called "Chakra Theertham", which is believed to be created by the Chakra from the hands of Mahavishnu. Another special feature here is that the "Guru Bhagavan" has a temple inside this temple itself. Even in the Gurusthalam Aalangudi, one can see that Dhakshinamurthy, facing South in the Praakaaram, is worshipped as the Guru. This is probably the only place in the world where Guru Bhagavan has a separate Sannidhi and separate Vimana between Vasishteswarar and Loganayaki Sannidhis. This is also the only place where one can see Guru Bhagavan, who is the Raja Guru, in a standing posture with four hands holding his weapons and a book. Chitra Pournami and Guru Peyarchi are most important festivals here.

[[Category:Temple]]

Hindu

2011-03-28T12:55:46Z

K. Ravindranath:

{{Author|Krishna Maheshwari}}

There is considerate debate among scholars as to the [[origins]] of the word Hindu. What they all agree on, however, is that the word Hindu was initially used as a geographic reference to the people who reside in the Indian sub-continent. It was much later that the term took a religious connotation.

The most popular origin theory for the word Hindu is that it is a corruption of 'Sindhu' or rather, a [[sound]] shift that was later adopted in a number of indigenous dialects as well.

The Persians coined it (S is replaced by H in Persian) to refer to those that lived beyond the mighty Sindhu River. There are references in the Zend Avestha and Bem Riyadh to 'Hapta Hindu' (Land of Seven Mighty Rivers). However, the Persians never used the word Hindu to refer to the religion of these people.

Some scholars hold that ancient Indian civilization did have a name of its own, prior to the arrival of Persians. A [[Sanskrit]] scholar, Swami Mangal Nathji, had found ancient Hindu writings called Birhannaradi [[Purana]] in Hoshiarpur (Punjab)<ref>NB Pavgee, Self-Government in India, 1912</ref> which contained the verse:

Himalayam samarabhya yavat bindusarovaram
Hindusthanamiti qyatan hi antaraksha-rayogatah

<blockquote>The country between Himalayas and [[Bindu]] Sarovar (Cape Commorin Sea) is Hindusthan derived by combining the first letter 'Hi' of Himalayas and the last compound letter 'ndu' of the word Bindu.</blockquote>

Other instances are cited in [[Vishnu]] [[Purana]], Padma Purana and the Brihaspati Samhita:

Aaasindo sindhu paryantham yasyabharatha bhoomikah
Mathrubhuh pithrubhoochaiva sah vai hindurithismrithaah

A Malayalam (language spoken in the south west region of India comprising mostly Kerala) verse also connote the same meaning and reads as:

"Sapta sindhu muthal sindhu maha samudhram vareyulla bharatha bhoomi aarkkellamaano
Mathru bhoomiyum pithru bhoomiyumayittullathu, avaraanu hindukkalaayi ariyappedunnathu"

Both indicate that whoever considers the land of Bharatha Bhoomi between Saptha Sindhu and the Indian Ocean as his motherland and fatherland is known as Hindu. This however finds difficulty as other scholars state that these are later interpolations into the texts and that the original texts did not have these references.

The real and ancient name of India is referred to as 'Bharatha Varsha'. There are numerous Vedic references in the Puranas, [[Mahabharata]] and other texts as well as common usage within the country and is agreed to by scholars.

Another theory is that it is derived from the [[Sanskrit]] word 'Hidi', which means to achieve one's objective, to acquire knowledge, to be progressive and ignore what is obstructive. Therefore, one who follows the spiritual path in order to acquire perfection through divine knowledge is known as 'Hindu'. However, the Sanskrit rules of grammar defined by Panini do not allow for a derivation of Hindu from the root Hidi.

==References==
{{reflist}}

==Other notable references==
* [http://www.indianlink.com.au/?q=node/348 "Origins of the name India"] by Usha Arvind
* [http://www.stephen-knapp.com/about_the_name_Hindu.htm "About the name Hindu"] by Stephen Knapp

==Related Articles==
* [[Overview]]
* [[Who is a Hindu]]
* [[Origins]]
* [[Overview Of Scriptures]]
* [[Vedas]]

Talk:Holi

2011-03-18T13:35:06Z

K. Ravindranath:

{{Author|Krishna Maheshwari}}

Holi is one of the most festive holidays of the year. It is celebrated primarily in the North of India and it falls on the full moon day of Phalguna (February - March)<ref>Sri Swami Sivananda, [http://www.sivanandadlshq.org/download/hindufest.htm|"Hindu Fasts & Festivals"], Divine Life Society</ref>. The festival is marked by revelry during which everyone paints each other with brightly colored powders. Song, dance and bright red, green, yellow and pink powder are the hallmarks of the occasion.

During Holi, in India, the streets are overtaken by crowds awash with colored powder. Not only clothes, but faces, arms and hair are smeared and sprayed with every color of the rainbow. People of all ages sing, dance, play, hug each other and smile with such child-like joy that it makes one wonder where so much happiness comes from! It is a celebration of love, forgiveness, hope and just plain fun.

Holi is celebrated for many reasons ranging from a spring-time festival, to the killing of the demoness Holika by Lord Krishna and is known by several names such as Kamadahana and Dol-yatra.

==Celebration==
[[Image:holi_girl_face.jpg|thumb|right]]
On the day of Holi, people celebrate by playing, dancing and running in the streets. Water pistols are filled with colored water and squirted on family, friends and strangers alike. Dye powders and water balloons are a big part of the play. The wise wear old clothes, usually white, in anticipation of the mess! Virtually anything goes, including ribald humor, practical jokes and teasing—all excused with the saying, “Don’t mind, it’s Holi!” (Hindi: Bura na mano, Holi hai.) Men are at the playful mercy of women, who dance with them and even dress them in drag. Especially in North India, people celebrate with abandon, even splashing color on their homes as a prelude to the more sober custom of renewing the paint with shell-based white. Deities and images of ancestors are hand-painted and placed in beautiful altars. Dramatic events feature devotional songs and the retelling of the love epic of Radha and Krishna. Bonds are renewed, particularly among in-laws and the extended family. Etiquette on Holi requires that one accept all overtures with an open heart, burying grievances to begin relationships afresh. People of all walks of life mingle and greet, applying vermilion on each others' foreheads in an uninhibited exchange of goodwill<ref>"Holi, Splashed with Colors of Friendship" Hinduism Today, April/May/June 2010, pg 68</ref>

In addition to playing with colors...various songs are sung in jubilation. Traditionally, songs of Shiva-Parvati, Sita-Rama, and Radha-Krishna are sung. Then local heroes, like Kunwar Singh in the Varanasi region<ref>Kunwar Singh was a hero in the 1857 war of Independence that India fought with Britain.</ref>, are praised in songs. Songs of Alha-Udala, Haradaula, etc are sung in different regions.

===Colors===
The dry powder colors are called "gulal," and the colors mixed with water are called "rang."

Every color means something special.
* Red, symbolizes fertility, love, beauty, and, most importantly, is a sign of a married woman.
* Yellow is almost synonymous with turmeric, an ingredient of great importance. It is used during auspicious functions and for medicinal use such as for the treatment of inflammatory and digestive disorders.
* Blueis the color of Lord Krishna.
* Green symbolizes new beginnings, harvest, and fertility.
* Saffron is associated with piety, and strength.

====Powder Composition====
[[Image:holi-gulal.jpg|thumb|right]]
Although lately, dyes made of toxic chemicals are often used during Holi,they were traditionally made using vegetable dyes, food & ayurvedic recipes. The idea was to use powders which would benefit the skin in addition to being fun to play with.
* Red : Red pomegranate rind soaked in water overnight. A pinch of edible gypsum mixed with turmeric powder in water. Alternatively, red hibiscus flowers soaked in water overnight.
* Yellow: Turmeric
* Brown: Betel nuts soaked in water overnight and diluted as necessary or boiled tea or coffee in water.
* Purple: Blueberries boiled in an iron vessel and let stand overnight.
* Magenta: Sliced or grated beet root left overnight in water. Diluted as needed for the desired shade.
* Green: Puréed spinach, coriander, neem, or mint leaves in water. Strained prior to use.

===The Holi bonfire===
Many communities create a bonfire on the night before Holi, starting with kindling and logs and adding organic debris as they clean up their property. The fire symbolizes the torching of negative or troublesome experiences and memories. An effigy of Holika, a rakshasi(demoness) personifying negativity, is consigned to the flames, and freshly harvested barley and oats are offered. The embers are collected to light sacred fires, and the ashes are used to mark the forehead as a blessing.

==Significance==
Holi, like other festivals has spiritual meanings and undertones and has several events that it signifies in addition to being a fun, playful festival.

Holi is meant to wean man away from sensual pleasures and take him gradually to the spiritual path and divine communion. As part of the Holi bonfire, people offer the new grains that are harvested to the gods before partaking them.

There should be worship of God, religious gatherings and Kirtan of the Lord’s Names on such occasions, not merely the sprinkling of colored water and lighting of bonfires. These functions are to be considered most sacred and spent in devotional prayers, visiting holy places, bathing in sacred waters, and Satsang with great souls. Abundant charity should be done to the poor. Devotees of the Lord remember the delightful pastimes of the Lord on happy occasions such as Holi<ref>"How to Turn your Holidays into Holy Days" by H.H. Swami Chidanand Saraswati, Garavi Gujarat House, 2004</ref>.

The social element during Holi is the uniting or “embracing” of the great and the small, of the rich and the poor. It is also the uniting of equals. The festival teaches to “let the dead bury the dead”. It helps people forget the outgoing year’s ill-feelings and begin the new year with feelings of love, sympathy, co-operation and equality with all.

Holi means “sacrifice”. The holiday symbolically presents an opportunity to burn all the impurities of the mind, such as egoism, vanity and lust, through the fire of devotion and knowledge. To ignite cosmic love, mercy, generosity, selflessness, truthfulness and purity through the fire of yogic practice. To rise from the mire of stupidity and absurdity and dive deep into the ocean of divinity.

The call of Holi is to always keep ablaze the light of God-love shining in the heart.

===Prahlaad & Holika===
The Puranas describe Holi as a celebration of virtue over vice. It is the celebration of the victory of pure, divine Prahlaad over his aunt Holika.

Prahlaad was a young, handsome, pure, divine devotee of Lord Vishnu. However, Prahlaad's father was a powerful king who believed that everyone should worship him as god. At Prahlaad's refusal to do so, due to his single-minded love of God, his father decided to have him killed. Prahlaad's aunt (his father's sister), Holika, had been given a special shawl as a boon from God for various austerities she had performed. When she wore this shawl, she could not be burned by fire. So, Prahlaad's father and his sister devised a plan in which she would wear her shawl and hold Prahlaad tightly in her arms as they sat in fire. In this way, Prahlaad would be killed, but she would emerge unscathed.

However, a strong gust of wind came and blew the shawl off of her, as well as carried Prahlaad to safety and Holika was burned in the fire.

One of the great obstacles to spiritual progress is the difference between what is said or done on the outside versus what is thought on the inside. Holika had performed certain austerities by which she was entitled to this boon from God. On the outside, she was "pious." But, on the inside she was not pure. Prahlaad, on the other hand, was a simple, pure, loving devotee of God. This is what saved him. This inner purity and inner piety are what truly saves devotees.

Thus, on this divine occasion, people pray to be filled with the purity and devotion of Prahlaad. They commit themselves to performing puja, meditation and japa with focus, dedication and deep love for God.

This same scene is enacted every year to remind people that those who love God shall be saved, and they that torture the devotee of God shall be reduced to ashes. When Holika was burnt, people abused her and sang the glories of the Lord and of His great devotee, Prahlad. In imitation of that, people even today use abusive language, but unfortunately forget to sing the praises of the Lord and His devotee!

===Dolyatra: Krishna & the Gopis===
In some places, Holi is called the Dol Yatra. The word ''dol'' literally means “a swing”. An image of Sri Krishna as a baby is placed in a little swing-cradle and decorated with flowers and painted with colored powders. The pure, innocent frolics of little Krishna with the merry milkmaids (Gopis) of Brindavan are commemorated. Devotees chant the Name of Krishna and sing Holi-songs relating to the frolics of little Krishna with the Gopis.

According to Krishna Lila, Lord Krishna noticed one day how much lighter Radha’s complexion was than His own. His mother playfully suggested that He smear Radha’s cheeks with color to make Her look like Him, which Krishna did. The strong willed Radha gleefully retaliated, and a merry chaos ensued. Another story records that Krishna celebrated this festival with His friends and the gopis. They danced and frolicked, filling the air with color in a joyous welcome of spring.

On the festival day, people clean their homes, remove all dirty articles from around the house and burn them. Disease-breeding bacteria are thereby destroyed. The sanitary condition of the locality is improved. During the festival, boys dance about in the streets. People play practical jokes with passers-by. A bonfire is lit towards the conclusion of the festival. Games representing the frolics of the young Krishna take place joyously around a fire.
===Kamadahana===
Holi is known by the name of Kamadahana in South India, the day on which Cupid was burnt by Lord Siva.

===The grandchild & Holika===
Another legend has it that once upon a time an old woman’s grandchild was to be sacrificed to a female demon named Holika. A Sadhu advised that abuse and foul language would subdue Holika. The old woman collected many children and made them abuse Holika in foul language. The demon fell dead on the ground. The children then made a bonfire of her remains.

===Celebrating the arrival of Sprint===
Holi is also known as Vasanta Utsava. It is a celebration of the arrival of spring, the most beautiful period of the year--with trees wearing new leaves and climate becoming pleasant.

==Delicacies for the Occasion==
Special sweet and savory treats including mathri, puran poli and vadai are made. Many communities make an intoxicating, cooling drink, called thandai, made of purified water, sugar, seeds of watermelon, muskmelon and lotus, along with nuts, cardamom, fennel, white pepper, saffron and rose petals.

==References==
{{reflist}}

Category:Festivals

Ezhuchur Sri Nallinakkeeswarar

2010-08-01T14:30:39Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:ESN1.jpg|thumb]]

There is a marvelous and ancient temple for Lord Shiva at Ezhuchur. The main deity here is called Sri Nallinakkeeswarar. Nallinakkeeswarar means ‘God of harmony’. Goddess here is Sri Deivanaayagi. The temple is about 1100 years old, dating back to the Chozha period.

This temple is said to have undergone its last Kumbhabhishekam (consecration) during 1948 after which it got dilapidated. Many trees, plants and bushes were covering the temple for so many years. The local villagers then took initiative to completely rebuild the temple, as it was. It is said that they got a divine instruction that the temple must be completely a stone structure and with much difficulty they are constructing a stone temple itself, starting from year 2000. Now the temple is nearing completion with about 60% of the work completed.

Some stone inscriptions were found in the temple on a couple of stone slabs, which revealed the age and history of this temple. According to a study done by Archeological Survey of India, the temple dates back to 920 A.D. Inscriptions reveal the details of this temple during the 13th year of reign of a Chozha King ‘Koppara Kesari Panmar’ identified as Paranthaka Chozha 1 and this village was then called as ‘Velimaa Nallur’.

During this period, a local administrative head called Nochi Kizhaan Kaliya Perumaan belonging to the village Velimaa Nallur of Velimaa Nallur Naadu, a sub division of Ootrukkaattu Kottam handed over gold to the native Naattaar to build the temple (During the said period agriculturists were called Naattaars). Inscriptions also reveal that the Naattaar were to take responsibility to build the temple in this village using the given gold, failing which they have to pay a fine of ‘Manjaadi Pon’ ( a pot full of gold) to the king.

As per the inscriptions, it was found that, this village was called as Velimaa Nallur which was under Ootrukkaattu Kottam and this village itself had been the head quarter for this region (Naadu).There is also a copper epigraph which was found in the temple belonging to 1429 AD. According to this copper inscription, there was a Vijayanagara King called ‘Veera Narasimha’. He had admirations to this temple and the village. During his period, a seer called ‘Sri Vyaasaachala Mahadeva Saraswathi Swamigal’ is said to have headed the present Kanchi Mutt as 54th Peetadhipadhi in the lineage.

The copper epigraph says that ‘the king Veera Narasimha seated on a jeweled throne on the banks of the river Thungabadhra, gifted Ezhuchur and Venpaakkam villages to ‘Sri Vyaasaachala Mahadeva Saraswathi Swamigal’. The seer is said to have worshipped the Lord here and also attained ‘Mukthi’ at this place. The Adhishtaanam (Samadhi) of ‘Sri Vyaasaachala Mahadeva Saraswathi Swamigal’ is also found in the temple at south west of the sanctum. The idol of Sri Chandhramouleeswarar (Lingam) is also found in the temple which was originally found placed on the Adhishtaanam. Now some bricks and lamps are kept there for identification.

The main deity Sri Nallinakkeeswarar is in the form of a grand Shiva Lingam, facing east. Sri Ganapathy is seen at the entrance of the sanctum. A shrine for Ambaal, Sri Deivanaayagi is at the left side of the sanctum, facing south. Opposite Ambaal shrine, a shrine for Sri Shanmugar is being constructed. Right now, only the main deity is installed in the temple, as the construction work is in progress. The other deities here are kept in the garden near the temple safely. The other deities here are Sri Shanmugar, Sri Dhakshinamurthy, Sri Maha Vishnu, Sri Brahma, Sri Durga and Sri Sandigeswarar.

Navagrahams are present with their respective Vaahanams; a few of them are in a damaged condition. All the deities are so beautiful and temporarily kept inside the temple and looks as though a conference is going on among Gods. The most important of all here is the fantastic Nandhi. The Nandhi here is said to be very unique and not found anywhere else. This Nandhi is called as ‘Rajo Guna’ Nandhi. This peculiar Nandhi has beautiful ornaments and clothing, all carved on it. One of the forelegs is folded backwards and other one is in stretched position. Of the hind legs, one is folded while another leg goes beneath its stomach and this leg is seen jutting out on the other side. Similarly the tail goes underneath the belly and stretches out on its left side.

Nandhi is wearing elaborate ornaments around its neck. It wears garlands made of Rudhraaksha, an Iron chain, Salangai and a garland made of bells. Nandhi also adorns a beautiful Nethi Chutti (an ornament meant for forehead) on its forehead. It has a beautifully carved Vasthram (shawl) covering it and an ‘Ottiyaanam’ (hip ornament) too. Yaazhi is beautifully sculpted just above the legs. It is sculpted with minutest of details as even the row of teeth of the Nandhi is so accurate. Nandhi is seen curling its tongue out reaching to its nostril on the right side. It is said that such posture is called ‘Pranayama Kolam’ (doing breathing exercise). Also the ears of the Nandhi are sculpted sharply in an unusually erect shape. It is said that the Nandhigeswarar here is in the posture of doing Prayanama and listening to the Gayathri Manthra.

It is said that Sri Jayendhra Saraswathi Swamigal of Kanchi mutt had visited this temple, got so fascinated by this beautiful Nandhi and also was reported to have said that he had not seen such a beautifully sculpted Nandhi anywhere else. Thus, the Nandhi here gains much of admiration and stands as a masterpiece to the architectural excellence of our ancestors. One will need at least 5 to 10 minutes to go around and admire this Nandhi in detail. There are 3 Sthala Virukshams for this temple. ‘Pen Panai Maram’ (female Palm tree) is found behind the sanctum at the western side. ‘Vilvam’ is found at the southern side of the temple. ‘Eru Azhinjal tree’ , also called Angola tree, which is considered most sacred and medicinal is another Sthala Viruksham here and is on the south east side of the sanctum.

The Theertham for this temple is called ‘Kamala Theertham’ which spreads on a vast area and looks so beautiful. This water from this pond is said to have medicinal properties. There are a few steps to go down to the Theertham here. Hollow carvings are found on both sides of the stone steps, to pour oil and light the lamps during festivals. Sri Nallinakkeeswarar blesses the devotees for marriage, child birth and harmony within the family.

The people of Ezhuchur have formed a trust called “Namasivaya Arakkattalai” headed by Sri. Krishna Kumar (a native of Ezhuchur) as the Chairman and are engaged in rebuilding the whole temple with the same elegance as it was. The trust also seeks funds for completion of works. The trust could be contacted at 5/9, 2nd street, Ramakrishna Nagar, Chitlapakkam, Chennai – 600 064. Tel: 91 - 44 - 2223 3857 / 94443 49009. Most importantly the trust invites people to visit the temple and experience the divinity and heritage here.

HOW TO REACH HERE?
Ezhuchur is a small, beautiful village located about 57 kms south west of Chennai, on the road connecting Tambaram and Kanchipuram. While going from Tambaram, after Padappai, there is a junction called Orakadam Cross Road (junction Road). There is a Mahameru Dhyana Nilayam about 3 kms from Orakadam Cross Road. One has to take left on the narrow road adjacent to Mahameru temple and go further about 3 kms inside to reach this village.
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[[Category:Temple]]

Ariyathurai Sri Varamoortheeswarar

2010-08-01T14:14:04Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:ASV1.jpg|thumb]]

Ariyathurai has an ancient temple for Lord Shiva, which is said to be about 6000 years old. The main deity here is Sri Varamoortheeswarar and Goddess Sri Maragatha Valli. The name of the place Ariyathurai itself signifies the inimitable value of the village. In Thamizh ‘Ariya’ means ‘rare’ and ‘Thurai’ means ‘a place on the river bank’.

This temple is located on the banks of the river Arani, which is also called as Brahmaaranya Theertham. According to the legend, this river is believed to be created by Lord Brahma. It is said that once when an ancient sage called Romasa Rishi wanted to perform a Yagnya, Lord Brahma churned the Arani trees to create fire. After the fire evolved from the friction, water started flowing due to churning, which ran through this place and came to be known as Brahmaaranya River. It is believed that Romasa Rishi worshipped the Lord here for over 100 years. Lord Shiva appeared to Him and the Rishi prayed the Lord to take abode here in Ariyathurai and bless the world. Lord Shiva was pleased with the Rishi’s worship and took abode here.

There was another sage called Mukundha Rishi who also is said to have stayed in this place for many years and worshipped the Lord here. After few years of worship, Mukundha Rishi wanted to go on a pilgrimage to Kaasi (Varanasi) and prepared to leave Ariyathurai. He heard a holy voice of Lord Shiva asking him not to leave Ariyathurai and said that the Holy Ganges will flow on the banks of Brahmaaranya River itself for the Rishi to take the holy dip. A small spring of water had originated on the banks of river Arani. Mukundha Rishi with much joy took holy dip in the Ganges and worshipped Lord Shiva. Lord Shiva gave dharshan to him as Bhairavar. He requested Lord Shiva that the spring of Ganges should flow in this village perennially so that people who are not able to make it to Kaasi can visit Ariyathurai to have bath in Ganges. The Lord agreed and the spring of Ganges is flowing there till today.

There is a small square trench found on the river bank, a little away from the temple, in which the water is originating. It is said that even when the river Arani dries up, this holy Ganges fountain never dries. Kanchi Paramachaarya Sri Chandrasekarendhra Saraswathi Swamigal had visited Ariyathurai during 1965 and bathed in this holy water. It is said that worshipping the Lord at Ariyathurai is equivalent to worshipping Him at Kaasi (Varanasi).

There lived a king called Chithrasenan who was childless and Goddess Maragatha Valli Herself was born to him. After she grew up, the king arranged for the Swayamvaram for the princess. Lord Shiva went to the palace, brought the Goddess here on a horse and took abode. Knowing this, the king along with his troupes came chasing and reached here. Nandhigeswarar stopped them from entering the temple and the God gave dharshan to them along with Sri Maragatha Valli. Then the king was made to realize that the Goddess Herself was born to him and she had reached the right place.

There is an Arasa Maram (Peepul) near this temple. It is said that Lord Vishnu once brought a Paarijaatham tree from Devaloka to offer flowers to his wives. He took permission from the queen Indrani but forgot to ask the tree before transplanting it. The tree is said to have cursed Lord Vishnu to become a tree and stay on earth for 1000 years. Lord Vishnu is said to have stood here as Arasa Maram for about 1000 years.

There is a beautiful pond near the temple which serves as the Theertham for the temple. This temple tank was built by a local land lord. It is said that there lived a beautiful Devadasi in this village, who was an ardent devotee of Sri Varamoortheeswarar. The land lord was fascinated by her beauty and proposed to her for his pleasure. Devadasi agreed with a condition that the land lord must build a tank for this temple after which she would agree to be with him. The land lord fulfilled her wish by building a beautiful tank for the temple and went eagerly to meet her. To his shock, he was only able to find her dead to reach the feet of Lord.

The temple is constructed beautifully on the banks of river Arani. This temple is facing south. Temples facing south are called ‘Parihaara Sthalams’ meant for finding remedies to one’s problems. The main deity ‘Sri Varamoortheeswarar’ is seen facing east. Goddess Sri Maragatha Valli is facing south. The main deity here is said to represent the ‘Sadhyojaatha’ face of Lord Shiva. The Aavudaiyaar (base) of the Lingam is of square in shape. It is said that the Shiva Lingams which were installed by Rishis or Sages would have the Aavudaiyaar in square shape.

This temple does not have Navagrahams. Instead, Sri Surya Bhagavan (Sun God) and Sri Chandra Bhagavan (Moon God) are seen on the pillars just outside the sanctum, facing the Lord. Kaala Bhairavar is present in the Ardha Mandapam and is a Swayambhu murthy (self evolved). There are carvings of the images of snakes on the ceiling of the mandapam outside the sanctum, which indicates that this temple is meant to find remedies for Sarpa Dhosham or Naga Dhosham. An ancient Nandhi is seen on the outer praakaaram facing the sanctum. A stone slab containing some old inscriptions is kept on the outer praakaaram. There is also a small shrine for Romasa Rishi just behind the temple. Ariyathurai certainly lives up to its name having many rare features.

HOW TO REACH HERE?
Ariyathurai village is located off the Chennai – Kolkata highway and is about 50 kms from Chennai. While going from Chennai, there is a junction called Thachur cross road. After crossing this junction, one has to go further about 2-3 kms to reach Kavarappettai where one Durga Devi Polytechnic is seen. Opposite to this polytechnic, one has to take a left turn from the highway and go about 3 kms inside to reach this temple.
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[[Category:Temple]]

Thiruvidandhai Sri Nithya Kalyaana Perumaal

2010-08-01T14:01:53Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:TSNKP1.jpg|thumb]]

Thiruvidandhai got its name as the Lord here is seen with Sri Lakshmi seated on His left lap. In Thamizh ‘Thiru’ means Lakshmi, ‘Ida’ means left and ‘Endhai’ means ‘my father’ (God). Hence the place came to be known as Thiru Ida Endhai which later corrupted to become Thiruvidandhai.

During Thretha Yuga (second among the 4 Yugas), there lived a king called Bali, who was the son of King Meganaatha. He remained a victorious ruler. Three demon kings by name Maali, Maalyavaan and Sumaali approached him and requested him to support them in their war against Devas for which Bali refused. The demon kings however went ahead and fought the Devas in which they suffered defeat. They once again came to Bali and requested him to help them and that if he can be with them, they can win over the Devas.

As they insisted much, Bali agreed to help them in their battle against Devas. This time the demon kings (Asuras) won over the Devas in the battle. As Bali fought against Devas and won them, he acquired Brammahathi Dhosham and to get relieved of the ill effects of the Dhosham, he came to Thiruvidandhai and did penance propitiating Lord Vishnu. The Lord pleased with the devotion of Bali gave dharshan to him as Sri Varaaha Perumaal. Varaaha Avatar is the 3rd one of the 10 Avatars (incarnations) of Lord Vishnu.

Once, there lived a sage called Kuni. He along with his daughter performed severe penance together as they wanted to reach heaven. Sage Kuni succeeded in his penance and reached heaven but his daughter couldn’t. Sage Naradha appeared and told her that an unmarried woman cannot reach heaven. She met many sages and requested them to marry her. Finally a sage called Kaalava Rishi, who lived in Thiruvidandhai agreed to marry her.

After their marriage, she gave birth to 360 female children. As the girls grew up the Rishi was worried as he had to get all his daughters married, which was a huge task. He prayed to Lord Vishnu for help but the Lord did not turn up. One day a handsome bachelor youth came to Thiruvidandhai as part of his holy pilgrimage. Kaalava Rishi requested the youth to marry his daughters. The young man agreed to marry one daughter everyday and the marriages went on everyday for 360 days. On the last day, the young man revealed himself as Lord Varaaha Perumaal to Kaalava Rishi and all the 360 daughters combined to become one woman, who was none other than Sri Lakshmi. The Lord gave her His left side and made her seated on His lap. The Goddess here is called as Komalavalli Thaayaar, as that was the name of the first daughter of Kaalava Rishi.

As all the 360 wives merged together as one, the Goddess here is also called as Akilavalli Thaayaar. This story also signifies the philosophy that the Supreme God is the only male of the universe, who is, the ‘Maha Purusha’ or ‘Purushothama’ and all the living beings are Naayagis or females who with much devotion can reach the Lord. This beautiful temple on ECR belongs to the Chozha period. Though this temple is popularly known as Nithya Kalyaana Perumaal temple, the main deity here is Sri Varaaha Perumaal and Goddess Komalavalli Thaayaar. The Lord Sri Varaaha Perumaal is seen in a standing position with His left leg folded, facing east. He is resting His left leg on Sri Aadhiseshan. He has Thaayaar seated on His left lap. The Urchavar here is Sri Nithya Kalyaana Perumaal, who is the processional deity.

The temple is so huge and is made of stone throughout. As the Lord married all 360 daughters, one each day, the Lord here came to be known as Sri Nithya Kalyaana Perumaal. Kalyaana Urchavam is performed to the Lord everyday here. Also the Lord blesses the unmarried ones for a speedy marriage here. Many unmarried men and women visit this temple to worship the Lord and get married soon. There is a procedure for the unmarried to offer worship here. They are offered a garland to wear and walk around the temple 9 times after which they are given a garland to carry home and keep safely till they are married. They have to bring back the same dried garland back to the temple after marriage along with their spouse. One can see many unmarried youths walking around the temple.

This temple is one of the Dhivya Desams of Lord Vishnu. Sri Manavaala Maamuni and Sri Thirumangai Aazhwaar (8th Century) have sung Mangalaasaasanams on the Lord here. The inscriptions found in the temple reveal that 12 fisherman families were dedicated to this temple during the 17th year of reign of Raja Raja 1. It is also found that a 7 day annual festival was organized by Raja Raja 1 during the Thamizh month of Aavani. There is also information found that the installation of the Goddess was done by a merchant from Mayilaarppu (presently Mylapore). The inscriptions also reveal that the present deity Sri Nithya Kalyaana Perumaal was called as Sri Manavaala Perumaal in those days.

There is a beautiful 16 pillared stone Mandapam in front of the temple in which all the pillars have wonderful sculptures on them. (See the photos). There is a separate shrine for Sri Anjaneyar near the end of the street, facing the temple. There is a beautiful temple tank for this temple called Kalyaana Theertham where the devotees take bath before visiting the Lord. Thiruvidandhai is a lovely temple that will take one to the Chozha period itself.

HOW TO REACH HERE?
Thiruvidandhai is located about 40 kms from Chennai city on the East Coast Road (ECR) before Mahabalipuram. While going from Chennai, one can see a big arch on the right side of the road, indicating the temple.
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[[Category:Temple]]

Kolappaakkam Sri Agatheeswarar

2010-08-01T13:46:21Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:KSA1.jpg|thumb]]

Kolappaakkam has a beautiful Shiva temple where the main deity is Sri Agatheeswarar (also called Sri Vaakeesa Mahadhevar) and Goddess Sri Aanandhavalli.

This temple is said to be over 1300 years old. According to legend, Sri Surya Bhagavan had worshipped Lord Shiva at this temple. Sri Surya Bhagavan has a separate shrine inside this temple facing the Lord towards west. This temple is one of the Navagraha temples of Chennai devoted to Sri Surya Bhagavan. The Sun God is given prominence in this temple, where all important deities of the temples are facing Surya Bhagavan's shrine.

The color of the Vasthram (clothing) meant for Sri Surya Bhagavan is Red. The Dhaanyam (grain) dedicated to Him is Wheat and the auspicious day to worship Him is Sunday. Worshipping Sri Surya Bhagavan on Sunday, by offering red cloth, red flowers and wheat gives success to one in all his deeds. Also, it is said that worshipping Sun God makes one gain Thejas. It is said that, apart from Surya Bhagavan, Sage Agasthiyar too had worshipped Lord Shiva here and hence the name Sri Agatheeswarar. Another Rishi called Vaakeesa Muni also had worshipped Sri Agatheeswarar here.

The temple is built facing south on a vast land. Sri Agatheeswarar is seen facing east. Ambaal Sri Aanandhavalli is facing south and is in a standing posture. Nandhi is seen facing the Lord towards east. Other deities like Sri Ganesha, Sri Dhakshinamurthy, Sri Mahavishnu, Sri Durgai and Sri Sandigeswarar are seen around the sanctum. There is a separate shrine for Lord Ganesha called Raja Ganapathy here. Also, Sri Kaasi Viswanathar and Sri Visaalakshi have separate shrines facing east at the south west portion of the temple. Lord Subramanyar also has a shrine in the temple in which a Maragatha Mayil (Peacock made of green granite) is found.

Sri Kaala Bhairavar is very popular in this temple and is said to be more powerful. Special Poojas and Abishegams are performed to Sri Kaala Bhairavar every Sunday during Raahu Kaalam (4.30 pm to 6 pm) timings. It is said that people worshipping Sri Bhairavar here for 6 consecutive Sundays, get their wishes fulfilled. Many kings have patronized this temple during various periods. A king called Aadhithyan is said to have done renovations to the temple during 878 AD.

Also Raja Raja Chozha I, Raja Raja Chozha II (1152 AD), Kulothunga Chozha III (1188 AD), Sundara Pandiyan (1200 AD), Veera Rajendra Chozha, a Telugu Chozha king called Vijayakanda Gopala are said to have contributed much to the temple, according to the inscriptions found in the temple. According to another inscription, a king by name Sri Vijaya Maharaja of Sumatra Island (Indonesia) is said to have gifted 250 Kuzhi (a unit of land measurement in thamizh) of lands to Sri Agatheeswarar at Kolappaakkam, during the 8th year of his reign. Inscriptions also reveal that Sri Vijaya Maharaja was a contemporary of Raja Raja Chozha and also had very cordial relationship with the then Chozha kingdom. The inscription also gives details about some Buddhist activities nearby to this temple and that Sri Vijaya Maharaja was a Buddhist.

In the recent past, the ASI have explored the area and found ruins of a Buddhist shrine near the temple. A couple of Buddha statues and pillars were discovered near this temple, which is kept in the street sides of the temple. A carving of Lord Ganesha is also found on one of these pillars. Archeologists are of the opinion that Sri Vijaya Maharaja, who visited the Buddhist temple at Kolappaakkam, could have also visited Agatheeswarar temple and made donations to the temple. The Sthala Viruksham for this temple is ‘Arasa Maram’ (Peepul tree) and Theertham is called ‘Amirtha Pushkarani’ (pic above) which is found adjacent to the temple and is not well maintained.

Special days like Pradhosham, Sivarathri etc., are celebrated well in this temple. Devotees throng from different parts of the city during such days. This wonderful temple with great significance is now coming to light gradually.

HOW TO REACH HERE?
Kolappaakkam is located about 18 kms from Chennai city. One can take the road which is diagonally opposite to MIOT Hospitals in Ramavaram, off. Mount Poonamallee Road, to reach Kolappaakkam. Alternatively, one can also go from Porur via Gerugambaakkam and reach Kolappaakkam.
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[[Category:Temple]]

Somangalam Sri Somanaadheeswarar

2010-08-01T13:32:46Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:SSS1.jpg|thumb]]

Somangalam is an ancient, beautiful village having a temple for Lord Shiva. The main deity here is Sri Somanaadheeswarar and Goddess Sri Kamakshi Amman.

This temple is one of the Navagraha temples of Chennai (or Thondai Mandalam) devoted to Sri Chandra Bhagavan (Moon God). According to legend, once, Sri Chandra Bhagavan (also called Soman) is said to have been cursed by Dhakshan. As a result, he lost his divine charm and forgot all the 16 forms of arts he had acquired. To come out of this, He is said to have created a pond called Soma Theertham and worshipped Lord Shiva here. After this, he got back his beauty and wisdom. As Sri Soman (Sri Chandra Bhagavan) worshipped the Lord here, Lord Shiva here is called Somanaadheeswarar and the place came to be known as Somangalam.

This temple is a Parihaara Sthalam for those having any Dhosham related to Chandra Bhagavan. Sri Chandra Bhagavan has a separate shrine in the temple, facing west. This temple is said to have been built by Kulothunga Chozha in 1073 AD during his 3rd year of reign. According to inscriptions found here, this place was referred to as ‘Jayankonda Chozha Mandalathu Senkaattu Kottathu Maaganoor Naattu Somangalamaana Rajasigaamani Chathurvedhi Mangalam” In those days the places was gifted (tax free) to Vedic Brahmins by the ancient kings and these were known as Chathurvedhi Mangalams.

The inscriptions found in the temple reveal interesting details of the local lake which got damaged and about the repair works undertaken to it. Also, there is information about the donation of cows to the temple to fetch revenue for lighting the lamps in the temple, every evening. There lived a king called Somakaanthan in this part of the country, who wished to build 108 Shiva temples throughout his country. While he was in the middle of the construction work for this temple, he learnt that his enemies were marching towards his territory for war. The king was shocked to hear this,since he was not prepared for a war during that period of time and had engaged all his soldiers in the temple construction work.

With much grief, he prayed to Lord Shiva here to save him. Lord Shiva was pleased with his devotion in constructing the temple, and hence directed Sri Nandhigeswarar to fight against the king’s enemies. Nandhi turned towards east and blew away the entire troops of the enemy just with his fiery breath. Thereafter, Lord Shiva made Nandhi to face east permanently to make sure that there were no further attacks to the king’s country by enemies. Here one can see Nandhi unusually facing east instead of facing the Lord in the sanctum. This is one of the very unique features of this temple. Ambaal Sri Kamakshi Amman has a separate shrine in the temple, facing south.

Lord Natarajar here is present as Chathura Thaandava Murthy which is again very unique and rarely seen anywhere else. The sanctum is built in Gajabrishta shape or Thoongaanai Maadam type which is popular in Chozha architecture. Such structures would look like the back of a sleeping elephant. Sri Vinayagar, Sri Dhakshinamurthy, Sri Mahavishnu, Sri Brahma, Sri Durgai and Sri Sandigeswarar are seen on the outer walls of the sanctum. The other deities like Sri Valli Devasena Samedha Sri Subramanyar and Sri Bhairavar have separate shrines on the outer praakaaram.

The Sthala Viruksham for this temple is Sarakkonrai Maram (yellow laburnum) which is found on the northern side of the sanctum. There is a small shrine having a small Shiva Lingam below this tree and is called Viruksha Lingam. An image of a tree is carved on stone above this Lingam. A few dilapidated idols are also seen near the Sthala Viruksham. In the southern side of the outer Praakaaram Saptha Maathaas are seen in a row along the walls, in which Sri Jyeshta Devi is also present. Sri Jyeshta Devi is said to be the elder sister of Sri Mahalakshmi, who evolved earlier to Sri Mahalakshmi when the mighty ocean was churned.

The Theertham for this temple is said to be Sandeeswara Theertham, which is believed to be created by Sri Sandigeswarar. Another Theertham is Soma Theertham, which was created by Moon God which is present a little away from the temple. The temple is strictly closed between 12 pm and 4 pm. This beautiful temple surely has lots within itself for temple lovers.

HOW TO REACH HERE?
Somangalam lies about 35 kms south west of Chennai city. One can proceed on the route from Tambaram via Kishkinta to reach Somangalam. The better alternative is to take the road from Pallavaram going to Kunrathur. After reaching Kunrathur junction, one has to take a left turn (towards south) to reach Somangalam. Somangalam is about 10 kms from Kunrathur. Also plenty of busses ply from Porur directly to Somangalam.
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[[Category:Temple]]

Gerugambaakkam Sri Neelakandeswarar

2010-08-01T13:09:24Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:GSN1.jpg|thumb]]

Gerugambaakkam has an ancient temple for Lord Shiva, which belongs to the Chozha period. The main deity consecrated here is Sri Neelakandeswarar and Goddess Sri Aadhi Kamakshi.

This temple is one of the Navagraha temples of Chennai (or Thondai Mandalam) devoted to Sri Kethu Bhagavan. There is a separate shrine for Kethu Bhagavan on the southern side of the sanctum. Special Poojas and Homams are performed to Sri Kethu Bhagavan during Raahu Kethu Peyarchi. This is also a Parihaara Sthalam for people having ill effects in their lives because of Kethu’s position in their Horoscope.

The main deity Sri Neelakandeswarar is placed in a small but beautiful sanctum. The Lord got His name Neelakandeswarar, as he swallowed the Aala Kaala Poison which evolved during the churning of the ocean, after which His neck turned blue. In Thamizh ‘Neela’ means blue and ‘Kanda’ means neck. It is said that the Nandhi in front of the Lord is so powerful, since he absorbs the poisonous breath of the Lord after He had consumed the poison.

Sri Aadhi Kamakshi is present just outside the main sanctum, facing south. Sri Aadhi Kamakshi is tall and looks very beautiful. She is said to be the first among 5 forms of Kamakshi. Navagraham is present at the north east corner of the temple. There are image carvings of of snake on the ceiling of Navagraha shrine, which indicates that this temple is a Parihaara Sthalam.

There is an old and vast temple pond adjacent to the temple, which definitely requires attention. The entire temple itself is now in a poor condition due to lack of funds. It is said that when the temple was being constructed during the Chozha period, it was kept on hold due to some foreign invasion. Hence, the temple looks semi finished. Recently, Tamilnadu Tourism has made arrangements to organize package tour to all 9 Navagraha Sthalams around Chennai and hence the turnout of people is gradually increasing here. This lovely temple amidst a calm village has much to be uncovered.

HOW TO REACH THIS TEMPLE?
Gerugambaakkam is located about 20 kms west of Chennai city. While going from Porur towards Kunrathur, one should take a left side road to reach Gerugambaakkam.Bus, taxi and autos can be used to reach here.
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[[Category:Temple]]

Porur Sri Ramanaadheswarar

2010-08-01T02:48:17Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:PSR1.jpg|thumb]]

This ancient temple is dedicated to Sri Ramanaadheswarar. This ancient temple is connected with the Ramayana period. According to history, Sri Rama on His way to Sri Lanka rested here in this place which was then a forest. While resting under an Amla tree (‘Nelli’ in Thamizh), He realized that there was a Shiva Lingam under ground and his feet had touched the head of the Lingam unknowingly.

Sri Rama acquired a Dhosham since His feet came in contact with the Lingam. Hence, he undertook a penance to Lord Shiva for 48 days with just one Amla fruit as his food, to recover from the Dhosham and to bring out the Shiva Lingam. Lord Shiva pleased with Sri Rama’s penance came out from the earth and gave Viswaroopa Dharshan to Sri Rama. Sri Rama overwhelmed by the Lord’s mercy named the Shiva Lingam as Sri Ramanaadheswarar and worshipped Him. Goddess Parvathi too appeared and gave Dharshan to Sri Rama as Sri Sivakaama Sundhari. Sri Rama with sincere prayers worshipped Lord Shiva as His Guru and got to know the directions to reach the place where Sri Sita was kept under custody of Raavana and headed towards Sri Lanka. As Sri Rama worshipped Lord Shiva as His Guru, this place became a Guru Sthalam among 9 Navagraha Temples of Chennai (or Thondai Mandalam). Here Lord Shiva Himself is worshipped as Sri Guru Bhagavan.

Also this place is called Uthara Raameswaram, as Sri Rama worshipped Lord Shiva here, similar to Raameswaram. Also according to temple sources, it is said that Porur was called as Uthara Raameswaram in ancient days. It is also said that, this temple is equivalent to Raameswaram and those who are not able to undertake pilgrimage to Raameswaram could visit this place and be blessed by the Lord. The main deity Sri Ramanaadheswarar is gigantic and beautifully decorated, facing east. This huge deity is a Swayambhu Lingam (self evolved). Goddess Sivakaama Sundhari has a separate shrine in the temple.

The sanctum is built in Gajabrishta shape or Thoongaanai Maadam type which is a unique feature of Chozha temple architecture. Sri Vinayagar, Sri Dhakshinamurthy and other Koshta Murthies are found around the sanctum. This temple does not have Rajagopuram at the entrance and Vimanam above the sanctum. Nandhigeswarar is found on the outer praakaaram facing the sanctum. Here Sri Sandigeswarar is seen in a peculiar position near Nandhi facing south.

The practice of offering Theertham and Sadaari are generally seen only in Vishnu temples. But, this is probably the only Shiva temple, where Theertham and Sadaari are offered to the devotees. The Sthala Viruksham is Vembu (Neem tree) which is seen on the southern side of the praakaaram. Lord Brahma is seen under the tree facing north. A small Shiva Lingam is kept facing east with Nandhi, adjacent to Lord Brahma. The Neem tree is dressed up in a nice saree and this looks like a beautiful woman. Pournami, Pradhosham, Sivarathri and Guru Peyarchi are celebrated well in this temple. One can’t stop admiring the beauty of Sri Ramanaadheswarar and His magnificence at this temple.

HOW TO REACH THIS TEMPLE?
Porur is a suburb of Chennai city.The Arcot road starting from Gemini fly over passes through the Porur junction off Kunrathur Road.It is about 12 KM from the city center.

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[[Category:Temple]]

Kunrathur Sri Naageswarar

2010-08-01T02:29:08Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:KSN1.jpg|thumb]]

Kunrathur has an ancient temple for Lord Shiva which is over 800 years old. The main deity is Sri Naageswarar and Goddess Sri Kamakshi. This temple was built by the great tamil poet Sri Sekkizhaar who wrote the popular ‘Periya Puranam’. Sekkizhaar was born in Kunrathur itself. Once King Kulothunga Chozha II wanted to test his intellect and asked him many questions. Sekkizhaar answered the king perfectly and the king was both pleased and amazed at his prowess.

The king made Sekkizhaar his minister at his capital. Sekkizhaar was an ardent devotee of Lord Shiva and was regularly worshipping Him at Thirunaageswaram near Kumbakonam. During later stages, Sekkizhaar built a temple for Lord Shiva at Kunrathur which is very similar to the Thirunaageswaram temple. He installed the deity (Shiva Lingam) with Naagaabaranam (serpent as an ornament) around the Shiva Lingam and named the Lord as Sri Naageswarar. This temple is also popularly called as Vada Thirunaageswaram.

This temple is considered the Raahu Sthalam among 9 Navagraha Temples of Chennai (or Thondai Mandalam). The Naagar around the deity is considered the ‘Raahu’ for worship. Parihaarams (remedial worship) for Raahu are done here, especially during Raahu Kethu Peyarchi and also during Raahu Kaalam (4.30 pm to 06.00 pm) on Sundays. The temple is very huge and wonderful. The vast praakaarams add beauty to the temple. Sri Naageswarar is seen facing east and Goddess Sri Kamakshi is facing south. Sri Sekkizhaar also has a separate shrine inside the temple.

A magnificent Dwajasthambham is located on the eastern side of the temple, straight to the entrance. Sri Nandhigeswarar is seated in a small stone mandapam and is facing east towards the sanctum. Sthala Viruksham (holy tree) for this temple is ‘Shenbaga Maram’ (Michelia champaca L) and Theertham is ‘Surya Pushkarani’. Surya Pushkarani is very large and beautiful which is seen outside the temple on the south eastern side. The temple definitely showcases the dedication of Sri Sekkizhaar toward Sri Naageswarar.

HOW TO REACH THIS TEMPLE?
Kunrathur is located about 25 kms from Chennai city. One can reach Kunrathur by taking the road off GST road from Pallavaram. One can also take the road from Porur junction leading to Kunrathur.
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[[Category:Temple]]

Maangaadu Sri Velleeswarar

2010-08-01T02:02:03Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:MSV1.jpg|thumb]]

Maangadu Sri Velleeswarar temple is a very ancient and beautiful temple for Lord Shiva. The main deity here is Sri Velleeswarar. There is no Ambaal in this temple, as Sri Kamakshi Amman is present nearby.

According to the legend, when Goddess Sri Kamakshi performed Thapas here in Maangaadu, Lord Shiva came down to earth to give dharshan to Her and then marry Her. It is said that, Sri Sukran (Venus) worshipped Lord Shiva here. When Sri Kamakshi came here to have dharshan of Lord Shiva, she saw Sri Sukran worshipping the Lord. The Goddess went back as She did not want to disturb the penance of Sukran.

Later, Lord Shiva directed the Goddess to come to Kanchipuram and married Her there. As Sri Sukran (Velli in Thamizh) worshipped Lord Shiva here, the Lord came to be known as Sri Velleeswarar and also known as Sri Bhaargaveswarar. This temple is Sukra Sthalam among the Navagraha Temples of Chennai (or Thondai Mandalam). Sri Sukran blesses people with wealth, prosperity, good family, vehicles, fame and social status.

The main deity of Sri Velleeswarar is huge and looks very grand, facing east. Lord Ganesha and Lord Muruga are seen at either side of the entrance of the sanctum. Lord Ganesha here is holding a Mango fruit in His hand and is called ‘Maangani Vinayagar’. The place Maangaadu itself had got its name as it was once a vast Mango forest. Lingothbavar is seen on the outer wall behind the sanctum. Lord Brahma and Lord Vishnu are present on either side of Lingothbavar worshipping Him.
There is a separate shrine for Sri Veerabadhrar behind the sanctum. Sri Veerabadhrar is said to have been created from the sweat of Lord Shiva in order to defeat Dhakshan who was the father in law of Lord Shiva.

Sri Subramanya's shrine is present at the north-west side of the outer praakaaram. Sri Subramanyar is beautiful and is seen with His consorts - Sri Valli and Sri Dhevasena. All the 3 deities are made of a single stone. Lord Muruga’s Vaahanam (carrier) peacock is present outside the shrine facing the shrine. A beautiful Nandhi is present outside the sanctum, facing towards west. It is said that people visiting Sri Kamakshi Amman temple should also have dharshan at Sri Velleeswarar temple and Sri Vaikunda Perumaal temple in Maangaadu, as all these three temples are interconnected with the history of Sri Kamakshi Amman.

HOW TO REACH THIS TEMPLE?
Maangaadu is a small and pretty village located at the outskirts of Chennai city near Poondhamalli. While going from Chennai city on Mount Poondhamalli road, one has to take a left turn from Kumananchaavadi junction to reach Maangaadu. This temple is located very close to the well known Maangaadu Sri Kamakshi Amman temple. It is about 20 KM from the city and reachable by bus,taxi, auto etc.
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[[Category:Temple]]

Poondhamalli Sri Vaidheeswarar

2010-08-01T01:48:54Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:PSV1.jpg|thumb]]

The town of Poondhamalli has an ancient temple for Lord Shiva, which is more than 1000 years old. The main deity here is Sri Vaidheeswarar and Goddess Sri Thaiyyal Naayagi. This temple is very similar to the Vaidheeswaran Koil temple near Kumbakonam, which is one of the Navagraha Sthalam for Angaaragan (Mars in English or Chevvaai in Thamizh). This temple is one among the Navagraha temples of Chennai (or Thondai Mandalam) for Angaaragan.

It is said that Sri Angaaragan worshipped Lord Shiva at this place. Sri Angaaragan’s Paadham (foot mark) is found in the temple just outside the sanctum under the Panai (Palm) tree sculpted on stone. This temple is a Parihaara Sthalam for Chevvaai Dhosham. Special Poojas are done here on Tuesdays for Sri Angaaragan. The temple is huge with very vast praakaarams. The main deity is facing east in the form of Shiva Lingam. Goddess Sri Thaiyyal Naayagi is facing south.

In the inner praakaaram, Sri Dhakshinamurthy, Sri Brahma, Sri Subramanyar, Sri Sandigeswarar and Sri Durgai are seen. There are 3 Chakras installed by Sri Aadhi Sankarar in the Praakaaram called Sri Chakram, Subramanya Chakram and Shanmuga Chakram. On the northern praakaaram there is a Baana Lingam installed facing the entrance. Though there is an entrance at the eastern side, the temple has its main entrance and Rajagopuram facing north. There are some beautiful carvings on either sides of the entrance. The Sthala Viruksham for this temple is Thaazhi Panai Maram (Palm tree). The temple pond (called Vinai Theertha Kulam) is located on the eastern side of the temple, which needs attention.

Surya Pooja happens in this temple in the Thamizh month of ‘Maasi’. On the 21st, 22nd, 23rd, 24th and 25th of Maasi, Sun’s rays directly fall on the main deity around 6 am in the mornings. This amazing act happens only on these 5 days of the year and never repeats again. This temple is also called 'Uthara Vaitheeswaran Koil'. A wonderful temple with amazing architecture.

HOW TO REACH THIS TEMPLE?
Poondhamalli is about 25 kms from Chennai city on the Chennai-Bengalooru highway and reachable from Chennai city by bus, taxi or other vehicles.

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[[Category:Temple]]

Kovur Sri Sundhareswarar

2010-08-01T01:35:11Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:KSS1.jpg|thumb]]

Kovur has a massive temple for Lord Shiva built by Kulothunga Chozha, dating back to the 7th century. The main deity of this temple is Sri Sundhareswarar (also called Thirumaeneeswarar) and Goddess Sri Soundharaambigai (also called Thiruvudai Naayagi).

According to legend, Goddess Kamakshi was performing thapas on Panchagni (fire) in Maangaadu praying to Lord Shiva to marry Her. Her penance was so intense that the whole surroundings became very hot and all living beings started to suffer because of this enormous heat.However since Lord Shiva was deeply meditating with His eyes closed, He did not perceive this. Therefore, all Sages and Devas prayed to Lord Vishnu to save the world from the heat of the penance. Lord Vishnu directed Sri Mahalakshmi to save the world.

Goddess Sri Mahalakshmi came down here to this place in the form of a cow and worshipped Lord Shiva to request Him to open His eyes, so that the world could be saved. Pleased with Her prayers, Lord Shiva opened His eyes, after which the heat of the place subsided and became cooler. As Sri Mahalakshmi worshipped here in the form of a cow, the place came to be known as Kopuri (In Thamizh, Ko means cow) and later corrupted to become Kovur. At a later stage, King Kulothunga Chozha built this beautifull temple.

The temple is facing south with a beautiful 7 tiered Rajagopuram. The entire Sannadhi street itself is so beautiful with shady trees and ancient houses. This temple is one among the Navagraha temples of Chennai (or Thondai Mandalam) for Sri Budhan (Mercury). Lord Sri Sundhareswarar and Goddess Sri Soundharaambigai are said to be so beautiful here and hence they are called so. It is said that, by worshipping Sri Sundhareswarar, one would be cured of many ailments. The temple has undergone Kumbhabhishekam (consecration) recently and looks fresh and new.

Other deities present in the temple are Sri Veerabadhrar, Sri Valli Devasena Samedha Sri Subramanyar and Navagrahams. All 63 Naayanmaars are also present in this temple. Saint Thyagaraja has visited this temple on his way to Thirupathi. It is said that Saint Thyagaraja traveled on a palanquin towards Thirupathi and passed through this place. He also visited this temple on his way back. A local headman called Sundharesan asked the saint to compose and sing some songs on him. Thyagarajar refused and said that he would not sing in praise of any individual but he will sing in praise of God only and left Kovur.

While travelling from Kovur, his palanquin was attacked by a group of bandits who threw stones at the palanquin and his servants in order to stop him from going further. Then Thyagaraja stopped and got down from the palanquin to explain to the bandits that he was not so rich as to be robbed and also he was on a pilgrimage to Thirupathi. The bandits approached Thyagaraja and asked him as to who threw the stones back at them during the attack? Thyagaraja denied that there were any other people with him except for the carriers of the palanquin. However, the thieves informed him that they saw 2 youngsters furiously throwing back the stones at them to save Thyagaraja. Saint Thyagaraja then realized that they were none other than Sri Rama and Sri Lakshmana who had come to his rescue.

Realizing that there was some holy power to this place he again came back to Kovur temple and sang 5 compositions (Keerthanas) called ‘Kovur Pancharathnam’. The local headman proudly believed that the Saint Thyagaraja had sung in his praise. However, the saint explained to him that the 5 compositions were made in praise of the Lord Sri Sundhareswarar and not the individual called Sundhareswaran. The Kovur Pancharatnams are "Ee Vasudha" (Sahaana Raagam), "Kori Sevimpa"(Karaharapriya Raagam), "Sambo Mahadeva" (Pantuvarali Raagam), "Nammi Vachina" (Kalyani Raagam) and "Sundareswaruni" (Sankarabharanam Raagam).

While most of the compositions of Saint Thyagaraja are in praise of Lord Rama only,this is one of the few places where he had composed Keerthanas to other Gods. Sri Sekkizhaar, who was born in a nearby place ‘Kunrathur’, started writing ‘Periya Puranam’ from this temple only. Another rarity of this temple is the Sthala Viruksham which is the Maha Vilvam tree (Bael- Aegle marmelos). The Maha Vilvam of this temple is a very rare one that each stalk of Maha Vilvam has 27 leaves to it. This Maha Vilvam also has many medicinal properties in it.

The Theertham for this temple is called Siva Gangai Theertham. This temple also has a beautiful chariot which requires renovation. Such a marvelous temple, standing tall across centuries is definitely a boon to pilgrims.

HOW TO REACH THIS TEMPLE:
Kovur is a small town situated about 22 kms from Chennai, on the road going from Porur towards Kunrathur. The temple is located about 200 meters off the main road.

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[[Category:Temple]]

Kovur Sri Sundhareswarar

2010-08-01T01:23:55Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:KSS1.jpg|thumb]]

Kovur has a massive temple for Lord Shiva built by Kulothunga Chozha, dating back to the 7th century. The main deity of this temple is Sri Sundhareswarar (also called Thirumaeneeswarar) and Goddess Sri Soundharaambigai (also called Thiruvudai Naayagi).

According to legend, Goddess Kamakshi was performing thapas on Panchagni (fire) in Maangaadu praying to Lord Shiva to marry Her. Her penance was so intense that the whole surroundings became very hot and all living beings started to suffer because of this enormous heat.However since Lord Shiva was deeply meditating with His eyes closed, He did not perceive this. Therefore, all Sages and Devas prayed to Lord Vishnu to save the world from the heat of the penance. Lord Vishnu directed Sri Mahalakshmi to save the world.

Goddess Sri Mahalakshmi came down here to this place in the form of a cow and worshipped Lord Shiva to request Him to open His eyes, so that the world could be saved. Pleased with Her prayers, Lord Shiva opened His eyes, after which the heat of the place subsided and became cooler. As Sri Mahalakshmi worshipped here in the form of a cow, the place came to be known as Kopuri (In Thamizh, Ko means cow) and later corrupted to become Kovur. At a later stage, King Kulothunga Chozha built this beautifull temple.

The temple is facing south with a beautiful 7 tiered Rajagopuram. The entire Sannadhi street itself is so beautiful with shady trees and ancient houses. This temple is one among the Navagraha temples of Chennai (or Thondai Mandalam) for Sri Budhan (Mercury). Lord Sri Sundhareswarar and Goddess Sri Soundharaambigai are said to be so beautiful here and hence they are called so. It is said that, by worshipping Sri Sundhareswarar, one would be cured of many ailments. The temple has undergone Kumbhabhishekam (consecration) recently and looks fresh and new.

Other deities present in the temple are Sri Veerabadhrar, Sri Valli Devasena Samedha Sri Subramanyar and Navagrahams. All 63 Naayanmaars are also present in this temple. Saint Thyagaraja has visited this temple on his way to Thirupathi. It is said that Saint Thyagaraja traveled on a palanquin towards Thirupathi and passed through this place. He also visited this temple on his way back. A local headman called Sundharesan asked the saint to compose and sing some songs on him. Thyagarajar refused and said that he would not sing in praise of any individual but he will sing in praise of God only and left Kovur.

While travelling from Kovur, his palanquin was attacked by a group of bandits who threw stones at the palanquin and his servants in order to stop him from going further. Then Thyagaraja stopped and got down from the palanquin to explain to the bandits that he was not so rich to be robbed and also he was on a pilgrimage to Thirupathi. The bandits came near Thyagaraja and asked him who threw the stones back at them. Thyagaraja told them that there were no other people with them except the carriers of the palanquin. However, the thieves told him that they saw 2 youngsters furiously throwing back the stones on them to save Thyagaraja. Saint Thyagaraja realized that they were none other than Sri Rama and Sri Lakshmana who had come to his rescue.

Saint also realized that there was some holy power to this place and again came back to Kovur temple and sang 5 compositions (Keerthanas) called ‘Kovur Pancharathnam’. The local headman was too proud thinking that Saint Thyagaraja had sung in his praise. However, the saint explained to him that the 5 compositions were made in praise of the Lord Sri Sundhareswarar and not the individual called Sundhareswaran. The Kovur Pancharatnams are "Ee Vasudha" (Sahaana Raagam), "Kori Sevimpa"(Karaharapriya Raagam), "Sambo Mahadeva" (Pantuvarali Raagam), "Nammi Vachina" (Kalyani Raagam) and "Sundareswaruni" (Sankarabharanam Raagam).

Most of the compositions of Saint Thyagaraja are in praise of Lord Rama only. This is one of the few places where he had composed Keerthanas on other Gods. Sri Sekkizhaar, who was born in the nearby place ‘Kunrathur’, started writing ‘Periya Puranam’ from this temple only. Another rarity of this temple is the Sthala Viruksham which is the Maha Vilvam tree. The Maha Vilvam of this temple is a very rare one that each stalk of Maha Vilvam has 27 leaves to it. This Maha Vilvam also has many medicinal properties in it.

The Theertham for this temple is called Siva Gangai Theertham. This temple also has a beautiful chariot which requires renovation. Such a marvelous temple, standing tall across centuries is definitely a boon to pilgrims.

HOW TO REACH THIS TEMPLE:
Kovur is a small town situated about 22 kms from Chennai, on the road going from Porur towards Kunrathur. The temple is located about 200 meters off the main road.

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[[Category:Temple]]

Maangaadu Sri Vaikunda Perumaal

2010-07-31T14:21:22Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:MSVP1.jpg|thumb]]

This is a very ancient and beautiful temple for Lord Vishnu. The main deity here is Sri Vaikunda Perumaal.

According to the legend, when Goddess Sri Kamakshi performed Thapas here in Maangaadu, Lord Shiva came down to earth to marry Her. Lord Shiva appeared to Sri Kamakshi and directed Her to reach the place Kanchipuram where He said he would marry the Goddess. Lord Vishnu, who is the brother of the Goddess anticipating the wedding to happen at Maangaadu, came down here bearing maternal gifts for the bride and waited here. However, as the wedding did not happen here at Maangaadu, Lord Vishnu took abode here as Sri Vaikunda Perumaal with the Jewel (wedding ring) he brought for the Goddess and started blessing devotees.

The main deity Sri Vaikunda Perumaal is so beautiful with Sri Devi and Bhu Devi facing east. God is seen holding the wedding ring in his palm. Also He is holding Prayoga Chakra in one of his hands, which is believed to be so powerful. Goddess here is Sri Kanakavalli Thaayaar having a separate shrine facing east on the outer praakaaram. Aandaal shrine is found on the northwest corner of the temple, facing east. The temple also maintains a beautiful Goshala with many cows. Many beautiful statues like Sri Rama, Sri Anjaneya etc, are found on the outer walls of the temple.

It is said that people visiting Sri Kamakshi Amman temple should also have a dharshan at Sri Velleeswarar temple and Sri Vaikunda Perumaal temple in Maangaadu, as all these three temples are interconnected with the history of Sri Kamakshi Amman.

HOW TO REACH HERE
Maangaadu is located at the outskirts of Chennai near Poondhamalli. While going from Chennai city on Mount Poondhamalli road, one has to take left from Kumananchaavadi junction to reach Maangaadu. This temple is located very close to Maangaadu Sri Kamakshi Amman temple.

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[[Category:Temple]]

Nandhambakkam Sri Kothandaramar

2010-07-31T14:13:35Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:NSK1.jpg|thumb]]
[[image:NSK2.jpg|thumb]]

Nandhambakkam in Chennai has a beautiful temple for Sri Rama and the temple is connected with Ramayana. When Sri Rama was proceeding towards Sri Lanka in search of Sita Devi, He happened to pass through this place. This place was then called as Brindhaaranyam.

During that period, an ancient sage called Bringi Rishi was performing penance in this part of the country. He was doing penance from the hill nearby. The hill got its name as Bringi Malai (Bringi Hill) as sage Bringi was staying there for years. The name later corrupted to become Parangi Malai which is presently called as St. Thomas Mount. Knowing that Sri Rama is passing through his place here, Bringi Rishi invited Sri Rama to stay with him for few days before proceeding. Sri Rama agreed to be the guest of Bringi Rishi and stayed here. Bringi Rishi created a small Nandhavanam (garden) for the comfort of Sri Rama and the place came to be known as Nandhavanam itself, which later changed as Nandhambakkam. The neighboring place to Nandhambakkam is called Ramavaram(earlier Ramapuram) which is said to have got its name after Sri Rama’s stay here.

This story of this place is said to be mentioned in the ‘Aaranya Kaandam’ of ‘Kamba Ramayanam’ (Ramayana written in Thamizh by ancient poet Kambar). Later, an ancient Vishnu devotee called Thirukkachi Nambi (1180 AD) wished to construct a temple for Sri Rama at this place and made a small temple for the Lord. During Krishna Devaraaya’s Rule one of his territory heads called ‘Sanjeevi Raayar’ renovated this temple and made it bigger. Sri Rama here is seen along with Lakshmana, Bharatha and Shathrugna in Pattaabishega posture. Sri Sita Devi is seen sitting on Sri Rama’s lap and looks very pretty. All are seen facing south. Sri Anjaneyar is seen facing the Lord towards north. In the same place, Sri Srinivasa Perumal is seen facing the east.

There is a beautiful Nandhavanam (garden) outside the sanctum on the southern side. Sri Krishna is seen here as a child inside the garden. He is called Nandhavana Kannan here. There is another shrine for Sri Anjaneyar (Sri Hanuman) on the praakaaram. Here Sri Anjaneyar is very tall in a standing posture. There is a beautiful temple pond opposite to this temple. This is called ‘Bringi Rishi Theertham’, which is very large in size but needs maintenance. Sri Ramanavami is celebrated in a very grand manner in this temple

HOW TO REACH HERE
Nandhambakkam is a suburb of Chennai city. It is located on the Mount Poonamallee Road just about 2 kms from Guindy Kathipara junction of Chennai city. This temple is located just 100 meters from the main road on the opposite side of Chennai Trade Center.
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[[Category:Temple]]

Pozhichalur Sri Agatheeswarar

2010-07-31T14:03:00Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

[[image:PSA1.jpg|thumb]]

Pozhixhalur village has an ancient Shiva temple belonging to Chozha period. The main deity here is Sri Agatheeswarar and Goddess Sri Aanandhavalli. This beautiful temple is one among the Navagraha temples of Chennai (or Thondai Mandalam) dedicated to Lord Sri Saneeswara Bhagavan.

According to legend, Lord Shiva directed Sri Agasthiyar to go towards the southern part of Bharat to balance the earth during His wedding at Mount Kailash since all personalities were crowding the northern part. As per the God’s direction, Sage Agasthiyar came down to the southern part to balance the weight of the earth. While he was on his way to Podhigai hills, he stayed here for many years and worshipped Lord Shiva, a Swayambhu (self evolved) Lingam at this place.

Sage Agasthiyar had a boon that wherever he worships Lord Shiva, he will get the dharshan of the Lord’s marriage with Goddess Parvathi. Sage Agasthiyar is said to have worshipped Lord Shiva here and got His dharshan in this place. Sri Saneeswara Bhagavan too is said to have worshipped Lord Shiva here. As Sri Saneeswara had been giving ill effects to people, he had gained Dhosham out of it. Sri Saneeswara Bhagavan, wanting to be relieved of his dhoshams, prayed Lord Shiva for help. Lord Shiva asked Sri Sani Bhagavan to come to this place and worship Him. As directed, Sri Sani Bhagavan came to this place, created a pond called ‘Sani Theertham’ and worshipped Lord Shiva and got relieved of his problems. Hence, Sri Sani Bhagavan here is believed to be Mangala Saneeswarar with no dhoshams or ill effects. People having problems because of Sani (Saturn), worship here to reduce the ill effects. This place is also called ‘Vada Thirunallaaru’.

The main deity, Sri Agatheeswarar is seen facing east and Goddess Sri Aanandhavalli facing south. The temple is facing north and does not have Rajagopuram. Sri Sani Bhagavan is facing west towards the main deity in the sanctum. This temple is also a Parihaara Sthalam for Raahu and Kethu. This temple had been renovated during Chozha period. The sanctum is built in a Gajabrishta shape (also called Thoongaanai Maadam) shape. Lord Ganesha (Vinaayagar) is seen under a peepul tree at the south west corner of the temple. At southeast of the sanctum, Lord Anjaneyar (Sri Hanuman) has a separate shrine.
The Sthala Viruksham for this temple 'Maa Maram' (Mango tree) is at the north western side of the temple.

There is a beautiful Shiva Lingam under the Mango tree along with Sri Nandhi. The Theertham of this temple is called ‘Sani Theertham’ which is located a little away from the temple. This pond is in a very poor state with encroachments all around. Raahu Kaalam, Pradhosham, Aarudhra Dharsanam, Sivarathri, Sani Peyarchi and Karthigai Deepam are few of the special days in this temple.
HOW TO REACH HERE
Pozhichalur is about 3 kms from Pallaavaram Railway station off the road towards Kunrathur.Pallavaram is a suburb of Chennai city and can be reached from any part of Chennai by bus, taxi or the suburban rail.
'''Temple Address :'''

Sri Agastheeswara Swami Temple,

Pozhichalur, Chennai - 600 074.

Tel : 044 - 32564022,

9382305974,agaskoil@yahoo.com

Contact : Mr. Shanmugavel Kumarasamy, Trustee.

Website : www.pozhichalursaneeswarartemple.org

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[[Category:Temple]]

Japa

2010-07-29T00:38:23Z

K. Ravindranath:

'''Swami Tathagatananda'''

Japa is repetition of a mantra, holy word or words, according to prescribed rules, with concentration, devotion, and the sole intention of realizing the truth embodied in the mantra. Sri Ramakrishna says:
Japa means silently repeating God’s name in solitude. When you chant His name with single minded devotion you can see God’s form and realize Him. Suppose there is a piece of timber sunk in the water of the Ganges and fastened with a chain to the bank. You proceed link by link,holding to the chain, and you dive into the water and follow the chain. Finally, you are able to reach the timber. In the same way, by repeating God’s name you become absorbed in Him and finally realize Him.<ref>M, The Gospel of Sri Ramakrishna, trans. Swami Nikhilananda (Chennai: Ramakrishna Math, 2002),878–9.</ref>

The mantra is a mass of effulgent energy, the sound body symbolizing the supreme Truth.

''Om is shabda-brahman, ‘Brahman in the form of sound’'': The Veda says, ‘Creation is out of the Supreme Sound.’ Om is the Supreme Sound, the sound-symbol of God. Patanjali refers to Om as the symbol of Ishvara or personal God: ‘''Tasya vācakah pranavah'', His manifesting word is Om.’<ref>Yoga Sutra, 1.27.</ref>

Swami Vivekananda says: ‘Ishvara is the Atman as seen or grasped by the mind. His highest name is Om; so repeat it, meditate on it, and think of all its wonderful nature and attributes. Repeating the Om continually is the only true worship. It is not a word, it is God Himself.’<ref>The Complete Works of Swami Vivekananda, 9 vols. (Calcutta: Advaita Ashrama, 1–8, 1989; 9, 1997),7.62.</ref>

'''''Japa is a means to Self-realization''''': Repetition of the mantra awakens the potency contained within the mantra. According to Patanjali, regular repetition of Om leads to the awakening of the Self: ‘''Tajjapas-tad-artha-bhāvanam''; The repetition of this (Om) and meditating on its meaning (is the way).’<ref>Yoga Sutra, 1.28.</ref> Therefore, the mental and emotional components of japa are equally significant. Japa gradually advances to meditation, which unfolds deeper layers of consciousness. The emphasis is on ''bhāvanam'', ‘dwelling upon in the mind’. When the mind dwells upon God with devotion, japa draws the individual soul to the Paramatman naturally.

The power of the mantra manifests when the guru is competent, when the mantra is correctly articulated, and when the aspirant reflects deeply on its meaning. Swami Vivekananda says: ‘Mantra is a special word, or sacred text, or name of God chosen by the Guru for repetition and reflection by the disciple. The disciple must concentrate on a personality for prayer and praise, and that is his Ishta. These words are not sounds of words but God Himself, and we have them within us. Think of Him, speak of Him. No desire for the world! Buddha’s Sermon on the Mount was, “As thou thinkest, so art thou.”’<ref>Complete Works of Swami Vivekananda, 6.90.</ref>

The spiritual vibrations generated by repeating the holy name whole heartedly with faith evoke spiritual emotion that purifies the mind and heart. They reveal to us the vision of our ''ishta devatā'' and our indivisible unity with God and his name. Vivekananda says, ‘Each Ishta has a Mantra. The Ishta is the ideal peculiar to the individual worshipper; the Mantra is the external word to express it. Constant repetition of the word helps to fix the ideal firmly in the mind’<ref>Complete Works of Swami Vivekananda, 7.63</ref>.

'''''Mantra-śakti, the liberating power of the mantra''''': When sincerely reflected upon, the mantra has the sacred power, the ''mantra-śakti'', to liberate. The literal meaning of ‘mantra’ is ‘''mananāt trāyate iti'', that which frees the soul when reflected upon.’ The mantra protects us from psychophysical, moral, and spiritual dangers. Salvation is certain for one who meditates on the mantra with burning faith in ''mantra-śakti''.

Japa is done on a mālā, or rosary, which is often made of sacred rudraksha or tulasi beads.

Japa is prescribed as a valuable spiritual practice. In the Bhagavadgita, Sri Krishna says to Arjuna, ‘''Yajnānāh japayajño’smi''; Among all the yajnas or sacrifices, I am the yajna of japa, the repetition of the Holy names.’<ref>Bhagavadgita, 10.25.</ref>

The holy name enshrined in the divinely-charged mantra, when uttered with devotion, brings forth spiritual sensitivity through its calming influence. With the lower nature subdued and the higher consciousness reached, all nature is seen as Divine Consciousness.

== Japa in the Lives of the Holy Ones ==

Many saints and sages of India and other countries attained God by repeating his holy name. If they did not claim God-realization, they testified to the efficacy of God’s name to illumine their understanding. Swami Vivekananda says: ‘We can now understand what is meant by repetition. It is the greatest stimulus that can be given to the spiritual Samskaras [sum total of impressions in the mind].“One moment of company with the holy makes a ship to cross this ocean of life”’ (1.220).

A spiritual environment is very important, especially for beginners. Sri Ramakrishna taught his disciples: ‘There is God’s manifestation where people have practiced for a long time austerities, Japa, meditation, steady abstraction of mind, prayer, and worship in order to have His vision. Their thoughts of God have become solidified there, so to speak, on account of their devotion; that is why holy thoughts and visions are so easily attained there.’<ref>Swami Saradananda, Sri Ramakrishna the Great Master, trans. Swami Jagadananda (Madras: Ramakrishna Math, 1995), 643–4.</ref>

Holy Mother Sri Sarada Devi placed the greatest emphasis on daily japa and meditation: ‘The mind will be steadied of itself if aspirants repeat God’s name fifteen or twenty thousand times a day. I myself have experienced it.’<ref>Swami Nikhilananda, Holy Mother (New York: Ramakrishna-Vivekananda Center, 1997), 220.</ref> She conveyed the efficacy of japa through her own austere practice of it, which she did for the good of her disciples. Remembering this gives us great encouragement and faith in the guru who transmits the holy name.

Mahatma Gandhi, a votary of Ramanama, realized the spiritual benefit of japa in his life and dying breath. Rama was enthroned in his heart as ‘the Absolute Truth, the Eternal Principle, that is God.’<ref>The Mind of Mahatma Gandhi, comp. R K Prabhu and U R Rao (Madras: Oxford, 1946), 20.</ref> Gandhiji made the mantra the verification of his life.

Without any intellectual knowledge about the mantra and its potentiality, millions of people over the centuries in all countries have been repeating the divine name in their inner heart and experiencing peace and enlightenment.

<blockquote>One must be completely absorbed in whatever ''mantra'' one selects. One should not mind if other thoughts disturb one during the ''japa'' (recitation). I am confident that one who still goes on with the ''japa'' in faith will conquer in the end. The mantra becomes one’s staff of life and carries one through every ordeal. One should not seek worldly profit from such sacred ''mantras''. The characteristic power of these ''mantras'' lies in their standing guard over personal purity, and every diligent seeker will realize this at once. Each repetition… has a new meaning, each repetition carries you nearer and nearer to God. This is a concrete fact, and I may tell you that you are here talking to no theorist, but to one who has experienced what he says every minute of his life, so much so that it is easier for the life to stop than for this incessant process to stop. It is a definite need of the soul. --Mahatma Gandhi</blockquote>

== The Practice of Japa ==
Without divine help there is no spiritual progress. Therefore, before beginning japa, spiritual aspirants should invoke the aid of the ''ista devatā'' of the mantra to elevate their spiritual mood and open themselves to receiving divine help. Thinking of the beauty and grace of the ''ista devatā’s'' form while doing japa increases concentration and spiritual discrimination.

Sharada Devi says: ‘While performing japa take the name of God with the utmost love, sincerity and self-surrender. Before commencing your daily meditation, first think of your utter helplessness in this world and then slowly begin the practice of sadhana (spiritual discipline) as directed by your Guru.’<ref>Teachings of Sri Sarada Devi the Holy Mother (Chennai: Ramakrishna Math, 2001), 46.</ref>

Japa can be practiced in various ways with the rosary or mālā, which facilitates counting and concentrates the mind in the early stages of meditation. Counting can also be done using the fingers. Holy Mother says, ‘God has given us fingers that they may be blessed by repeating His name with them.’<ref>Her Devotee Children, The Gospel of the Holy Mother Sri Sarada Devi (Chennai: Ramakrishna Math,2000), 91.</ref>

One can utter the holy name clearly with proper pronunciation in an audible voice (''vācika''), or fix the mind on God and move the lips inaudibly(''upāmśu''), or ponder the meaning and practice silently with no movement of the lips (''mānasika''), which is preferred.

The scriptures say that ''mānasika'' japa can be practiced at all times and in all places. Swami Vivekananda says, ‘The inaudible repetition of the Mantra, accompanied with the thinking of its meaning, is called the “mental repetition,” and is the highest.’<ref>Complete Works, 1.190.</ref> Sometimes silent japa does not clear away mental disturbances. Therefore, aspirants must hold on to the center of consciousness despite any restlessness in the mind during japa.

To avoid fatigue, it is important to be vigilant and alert; for this the rosary is very helpful. It encourages continuity in japa, and one can resolve to complete a certain number of rounds of the rosary without any break in the thought of God. In the beginning, using a variety of ''vācika'', ''upāmśu'', and ''mānasika'' methods sustains japa whenever a lack of interest or monotony manifests.

In the beginning it is usual to feel nothing but a kind of darkness about your mind, or as it were, a ''cloud of unknowing''. You will seem to know nothing and to feel nothing except a naked intent toward God in the depths of your being. Try as you might, this darkness and this cloud will remain between you and your God. You will feel frustrated, for your mind will be unable to grasp him, and your heart will not relish the delight of his love. But learn to be at home in this darkness. Return to it as often as you can, letting your spirit cry out to him whom you love. For if, in this life, you hope to feel and see God as he is in himself, it must be within this darkness and this cloud.

With faith and devotion, aspirants will feel a genuine need for the practice of japa and will cultivate a dedicated taste for it.

Vigorous japa neutralizes lower thoughts, allowing aspirants to rise to higher spiritual planes of consciousness in meditation. Tension, restless outgoing tendencies, and drowsiness—dangerous when linked to japa and meditation—can be defeated by walking about doing japa loudly. As a drowning person clings to a floating object, aspirants should cling to the purifying practice of japa.

Of course, without absolute detachment and deep absorption in divine consciousness, we cannot have true realization. We must proceed systematically, firmly grasping the chain of the repeated sound, whatever be the difficulty confronting us. We will come in touch with the Divine in course of time. Holy Mother reminds us: ‘By ''japa'' and austerity is cut asunder the bondage of ''Karma'' (past action). But God can’t be realized except through love and devotion. As for ''japa'' and such other things, do you know what they stand for? Through them the senses etc., become subdued.’<ref>Swami Gambhirananda, Holy Mother Sri Sarada Devi (Madras: Ramakrishna Math, 1986), 406–7. </ref>

Sharada Devi used to say that it was more arduous to concentrate the mind on the Chosen Ideal than to dig the earth with a spade. She recommended diligence: ‘One has to be up and doing; can anything be achieved without diligence? One should find some time even in the midst of domestic duties.What to speak of myself, my child! I used to begin my ''japa'' in those days at Dakshineswar after leaving the bed at three in the morning, and lose all consciousness’ <ref>Swami Gambhirananda, Holy Mother Sri Sarada Devi (Madras: Ramakrishna Math, 1986), 110. </ref>

<blockquote>Try diligently to check the mad outgoing tendency of your mind. Never begin your meditation immediately after sitting on your asana. By discrimination first draw the mind back from its external pursuits and lock it up within, at the sacred feet of your Ishta. Then begin Japa and meditation. If you do this for some time, the mind will naturally cease to wander. The easiest way in this Kaliyuga is the path of Japa. By constantly performing Japa, the mind can easily be made calm and steady and finally it will lose itself in the Ishta. … So, I ask you to perform Japa frequently and along with it think of the Ishta. … This dual method brings quicker success. --Swami Brahmananda</blockquote>

When a devotee wanted to know the secret of japa, Holy Mother pointed to a small clock and said, ‘As that timepiece is ticking, so also go on repeating God’s name; that will bring you everything. Nothing more need be done’ (407). ‘When a pure soul performs Japa,’ she said on another occasion,‘he feels as if the holy Name bubbles up spontaneously from within himself. He does not make an effort to repeat the Name.’<ref>Gospel of Holy Mother, 176.</ref>

Even mechanical repetition of the mantra successfully keeps the mind engaged in japa. Faith in japa purifies the mind and heart, and japa, in turn, strengthens faith. However, the mind turns inward only when meditation accompanies japa. Holy Mother says: ‘Repeating the name of God once, when the mind is controlled, is equivalent to a million repetitions when the mind is away from God. You may repeat the name for the whole day, but if the mind is elsewhere it does not produce much of a result. The repetition must be accompanied by concentration. Only then does one obtain God’s grace.’<ref>Teachings of Sri Sarada Devi, 50–1.</ref>

Faith and patience overcome dryness in japa. Swami Brahmananda loved japa and meditation: 'You progress a little [in both], then comes a period of dryness. It seems that the doors are entirely closed. At that time it is necessary that you stick to your spiritual practices with infinite patience; by so doing you will find one day that all of a sudden the doors are opened. What a great joy it is then! In spiritual life many such thresholds have to be crossed.’ <ref>Swami Prabhavananda, The Eternal Companion: Brahmananda, His Life and Teachings (Hollywood: Vedanta Press, 1970), 162. </ref>

When the period of japa is over, aspirants should continue to sit quietly contemplating the ''ishta devatā'', reflecting on the infinite love of God or praying silently for ten or fifteen minutes. Devout prostration or salutation to the Lord helps aspirants retain the spiritual vibrations awakened by japa and meditation. These observances make it easier to keep the mind on God during all worldly activities.

== Japa Leads to Deeper Meditation ==

From external prayer and worship, aspirants progress to the practice of japa and then to dhyana, deeper meditation on the form and attributes of God. Increased physical and mental purity in thought, word, and deed along with correct, faithful practice of japa and meditation ultimately guides aspirants to experience the personal and impersonal aspects of God through the continuous flow of one idea of God in the mind

Japa is meditation with breaks, as it were. Meditation is the natural, spontaneous expansion of japa in the heart—the result of japa correctly practiced with devotion and dedication. In other words, japa certainly strengthens devotion, but it is only when japa occurs together with true dhyana, or meditation, that the mind spontaneously turns inward, away from outer things. After practicing japa along with meditation for some time, japa ceases by itself and the aspirant becomes established in meditation alone. Holy Mother says: ‘The mind naturally dwells on one’s daily activities. If you don’t succeed in meditation, practice Japa. … If a meditative mood sets in, well and good. If not, don’t force your mind to meditate.’<ref>Gospel of Holy Mother, 213.</ref> Real meditation is spontaneous.

True meditation is never forced or artificial; it is a natural consequence of intense attraction or love for the object of meditation. This idea is easily grasped when we consider that our intense longing for someone or something far away inevitably brings it clearly to our mind and we are delighted to think about it. Even so, Holy Mother says: ‘If you cannot meditate, repeat the Name. “''Japāt Siddhih''—Realization will come through Japa.”’

Spiritual practices open the physical centers of power, which increases energy and restlessness. The attempt to control lower urges results in some nervous symptoms. There are reasons for this phenomenon. Japa and meditation awaken the kundalini, the spiritual energy that is ‘coiled up’ like a snake in a dormant state at the base of the spine. The awakened kundalini, passing through the centers of consciousness in the body, manifests in the form of mystical experiences culminating in illumination. Swami Brahmananda says: ‘According to some yogis, there are special forms of meditation and practices which awaken it [the kundalini], but I believe it can best be done through japa and meditation. The practice of japa is specially suited to Kaliyuga. There is no other spiritual practice easier than this. But meditation must accompany the repetition of the mantra.’<ref>Eternal Companion (Chennai:Ramakrishna Math, 2001), 276.</ref>

Regular japa is a very important aspect of deeper meditation. Correct practice with self-control and self-discipline gradually brings all mental activity under control. The subtle, silent vibrations of japa pacify gross vibrations in the mind. When a little experience of the mantra comes, an aspirant becomes calm and peaceful, elevated by a concentrated mind, and gradually convinced about the efficacy of the holy name of God.

== Japa of the Sacred Scriptures ==
''Svādhyāya'' or study of the scriptures leads us to God. Scripture can be uttered aloud, chanted, repeated, or pondered upon in silence. Certain scriptural verses on the holy name are particularly meaningful or inspiring. Praying to God to open our heart, we should open the scripture calmly and reverently. After reading the verse several times and committing it to memory, we should slowly and reverently lay aside the scripture and begin reflecting on the verse with closed eyes. The idea is to discover what God is saying to us personally through the verse, which suggests the spirit in which we are to call upon his name or repeat the verse.

Mental reflection precedes japa. Correct repetition of the holy name or mantra actively engages the spiritual heart, which has become one with the intellect or buddhi. Sri Krishna teaches Arjuna:‘I have given thee words of vision and wisdom more secret than hidden mysteries. Ponder them in the silence of thy soul, and then in freedom do thy will.’<ref>Gita, 18.63.</ref> Real japa engages our heart, wherein God is found. The devotee’s heart is God’s parlour. A single step towards God impels him to take one hundred towards the devotee. No effort, however small, is lost.

Devotional japa of scripture fires up our heart with love for God. Silent, loving contemplation upon the chosen verse without reasoning constitutes ''nididhyāsana'', in which the name or word of the scripture goes from the mind to the heart, wherein its transforming power is realized. Mental devotion, the knowledge of God through reasoning (jnana), becomes transformed into affirmative knowledge of God in the heart (''vijnana''),which prepares us for his vision. This is the correct practice of japa of the divine name or scriptures. The Gita is eminently suited for this practice. It offers inspiration, justification, and support for all devotees, on whatever spiritual path they tread.

Devotional japa of the name and meditation on the sacred texts bestow the same experience: ‘Reciting the name of the Lord has also the very same effect [as the exclusive reading of the sacred texts]. The name is the nearest expressive symbol of the experience of the Divine, and it is believed that constant repetition of the name together with meditation (''bhavanā'') may result in yielding the very same experience. … The name … is the spontaneous expression in sounds of the deepest spiritual experience, and forms the vibrational symbol of the same.’<ref>Nalini Kanta Brahma, Philosophy of Hindu Sadhana (London: Kegan Paul, 1932), 272.</ref>

The saints are a living scripture. Their exemplary lives inspire us to meditate on them. They have left us sayings, teachings, poems, songs, and anecdotes of their lives, which we cherish over the centuries. Relying utterly on the name of God, they overcame all obstacles, even death, and attained to God. Japa of their teachings about the name of God is an excellent form of spiritual practice that enables us to inherit their legacy.

== Repeating the Holy Name in the Kaliyuga ==

Humanity is in a profound state of spiritual ignorance and consequent suffering in the present age. The humble practice of repeating the divine name is the way to reach the goal of God-realization. Sri Ramakrishna gave a general instruction to all: ‘Devotion according to Narada is the only path in the Kaliyuga; people will be saved if they but sing loudly the name of God. People of the Kaliyuga depend on food for their life; they are short-lived and of meager powers; that is why such an easy path for the realization of God has been prescribed for them.’<ref>Great Master, 2.938.</ref> When properly reflected upon, the mantra snaps the bondage of worldliness. True devotees are convinced that japa dispels all difficulties; they remember and repeat the holy name with joy even at the moment of death. This should encourage all seekers to utter the holy name or mantra unceasingly in every condition of life.

== References ==

{{reflist}}

* Originally published as "Japa: Instrument of Love for God’s Name" by Prabhuddha Bharata [https://advaitaashrama.org/pb_archive/2007/PB_2007_January.pdf January 2007 edition]. Reprinted with permission.

Madhuraanthakam Eri Kaatha Sri Raamar

2010-07-20T14:18:10Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Madhuraanthakam Eri Kaatha Ramar temple is a wonderful temple with rich heritage and history of various periods linked to it
Madhuraanthakam has a wonderful temple for Sri Kothandaraamar. In ancient days, this place was called as Vakulaaranya Kshethram, as this place was a forest with lots of Magizham trees. This place also had other names like Madhuraanthaka Chathurvedhi Mangalam, Vaikunda Vardhanam, Thirumadhurai and Thirumandhira Thirupathi.

The legend of this temple is connected to Ramayana period itself. There lived an ancient saint called Sri Vipaandakar in Madhuraanthakam, performing penance invoking Lord Vishnu. He was worshipping the moorthies of Sri Karunaakara Perumaal along with Sri Bhu Devi and Sri Neela Devi in this place.

During that period, Sri Rama was sent to the forests where He lost Sri Sita Devi and was going towards Sri Lanka to get her back. Vipaandakar came to know that Sri Rama was moving towards Sri Lanka and had to pass by this forest. Vipaandakar went and invited Sri Rama to his Ashram here and requested Him to stay for sometime before proceeding. Sri Rama accepted Vipaandakar’s request and stayed for a short while and worshipped Sri Karunaakara Perumaal along with the Rishi.

While leaving Madhuraanthakam, Vipaandakar insisted Sri Rama that He should continue the stay for some more periods. Sri Rama told the saint that He was on the mission of defeating Raavana, to bring back Sita Devi and assured him of a long stay and accept the saint’s hospitality on His way back from Lanka.

After killing Raavana, Sri Rama along with Sri Sita and Sri Lakshmana was flying back to Ayodhya on the Pushpaka Vimaanam. As promised to Vipaandakar, Sri Rama stopped on His way at Madhuraanthakam and got down from the Pushpaka Vimaanam. Sage Vipaandakar had a privilege of having the dharshan of the Lord Sri Rama, holding the hands of Sri Sita Devi, like a wedding posture. Sri Rama stayed here in the saint’s place for some days and left for Ayodhya. While leaving, Sri Rama carried Sri Karunaakara Perumaal along with Sri Bhu Devi and Sri Neela Devi with him and was worshipping the Lord at Ayodhya.

Later, many years after Pattaabhishekam, Sri Rama directed Sri Hanuman to carry Sri Karunaakara Perumaal back to Madhuraanthakam to install and worship the Lord here. Sri Hanuman installed Sri Karunaakara Perumaal and started worshipping regularly. Once, Sri Rama appeared to Sri Hanuman here in the same posture as how he gave dharshan (holding Sri Sita’s hand) to saint Vipaandakar.

Hence, the moolavar Sri Ramar gives dharshan in an unusual yet rare posture holding Sri Sita’s hand. Sri Lakshmana is also present with them. This is probably the only place where Sri Rama is seen in such posture. There are two Urchavars; Sri Sita, Lakshmana Sametha Sri Kothandaramar and Sri Bhu Devi, Sri Neela Devi Sametha Sri Karunaakara Perumaal.

The image of Lord Rama is so beautiful and is said to be the next best to the Sri Rama at Vaduvoor. Sri Rama here is beautiful and charming with an enchanting smile and divine Thejas.

This temple also is also connected to the life of Sri Ramanujar. Sri Ramanujar along with his wife, was on his way from Kanchipuram to meet Sri Periya Nambigal at Sri Rangam, as he was directed by Sri Thirukkachi Nambigal to do so and become his disciple. During the same time, Sri Periya Nambigal started from Sri Rangam towards Kanchipuram, in search of Sri Ramanujar, whom he felt would be the right disciple.

As a coincidence both met here at Madhuraanthakam and Sri Periya Nambigal performed Pancha Samskaaram to Sri Ramanujar under the Magizham tree of this temple.

There is a small Mandapam where Sri Ramanujar undertook Pancha Samskaaram from Sri Periya Nambigal.

There is a separate shrine for Sri Periya Nambigal and Sri Ramanujar here in this temple. This is said to be the only temple where Sri Ramanujar is seen as a Grahastha (married person) and is seen with white clothing instead of saffron, as seen in other temples.

The name of Sri Kothandaramar here came to be popularly known as Eri Kaatha Ramar because of an interesting incident happened during the British rule here. There was a district collector of Chengalpattu by name Colonel Lionel Blaze (some say that his name was ‘Lionel Place’) during the period 1795 - 1798. Madhuraanthakam lake being one of the biggest ones in the district, threatened the residents with the fear of breaching its banks during rainy seasons. The bund of the lake was weak and most of the times the lake overflowed the bund and waters gushed into the village creating disaster to lives.

Blaze who took up charge as collector of the district was worried about the lake during one such rainy season and had visited the village and camped there. He happened to see this beautiful temple and visited it to know more about it. The priests at the temple told him about the history and legend of the temple. While going around in the temple, he found huge pillars and stone slabs piled up in one of the corners of the temple and enquired about the purpose of those slabs. The priests explained that they were meant for the construction of the shrine for Sri Janakavalli Thaayaar and were kept on hold due to lack of funds.

Blaze now told the priests that if Sri Rama protected the village from the lake during the storms of the year, he himself would build the shrine for Sri Janakavalli Thaayaar at his cost. Saying this, he went back in a hurry without even having dharshan of the deities.

Colonel Blaze tried to strengthen the lake bund with his resources but was not confident about the strength of the same. The storms began to show in the village with heavy winds and strong pouring of rains. Rain continued for days together without any signs of stopping. The water began to rise in the lake and one day reached up to the bund level. Blaze expected a calamity to occur. But as the collector of the district, he went out to see the water level of the lake so that he can take some precautionary measures. He took one of his servants with him holding an umbrella and went near the lake.

On seeing the water filled lake, he got worried about handling the calamity which could happen anytime then. While he was thinking worriedly, he watched two young, well built men going around on the banks of the lake with bow and arrows on their hands. He patiently waited and saw these men wandering repeatedly on the banks. As it was night time, he couldn’t figure them out, but pitied them as they were walking on the lake bund during that dangerous night. He turned back to his place as he was already wet but was still thinking of those two strange young men.

The next morning Blaze woke up and saw that the rains had stopped and the sun was shining. Anxious about the status of the lake, he came out and understood that there was no flooding the previous night and the bund withstood all the waters. He was very happy and went rushing to the temple to share the news with the priests. The priests were happy and welcomed him inside the temple. This time, Blaze who was in a relaxed state of mind, peacefully entered the temple and accepted the respects from the temple priests. During that time the sanctum was closed as the Alankaaram (decoration) was going on for the deities.

Once the doors of the sanctum opened, Blaze was shocked to see the same two young men who were wandering with bow and arrows the previous night along the lake bund, being worshipped. He couldn’t control himself and explained to the priests what he saw the previous night. The priests were quite happy to hear him and everyone realized that those two young men whom Blaze saw, were Sri Rama and Sri Lakshmana and presumably it were these who had saved the village from the threatening lake.

From then onwards, people fondly started calling Sri Rama here as ‘Eri Kaatha Raamar’. Blaze, as promised, immediately arranged to build the shrine for Sri Janakavalli Thaayaar, which is present at the south western side of the temple. Sri Janakavalli Thaayaar is so beautiful and is decorated with wonderful ornaments.

An inscription is still found in the temple revealing that the Thaayaar shrine was built by Colonel Lionel Blaze of East India Company, the then district collector of Chengalpattu.

The temple is facing east with Sri Kothandaraamar as the main deity. There is a beautiful Mandapam outside the sanctum with lots of pillars allowing cool breeze into the temple.

In the Mandapam adjacent to the sanctum, there is a secret underground channel which starts from the Madhuraanthakam lake and passes through the temple and reaches the temple pond.

The outer praakaaram has a majestic Dhwajasthambham, adding beauty to the temple.

On entering the temple, Sri Chakkarathaazhwar shrine is found on the left hand side facing north.

The Sthala Viruksham ‘Magizha Maram’ is found on the north western side of the temple.

There is a separate shrine for Sri Vishvaksenar on the outer praakaaram facing south.

Sri Narasimhar gives dharshan at the north eastern side of the temple, facing towards south.

Lots of stone inscriptions are found along the walls of the temple.

The Vimaanam for this temple is called Pushpaka Vimaanam.

The temple pond is found in front of the temple and is called Sri Rama Theertham.

Sri Aanjaneyar is seen in a separate shrine adjacent to the pond facing west towards the temple. Adjacent to Sri Aanjaneyar shrine, Sri Ahobila Mutt is situated.

The temple has two main festivals. One is Sri Rama Navami and the other is the Brammothsavam during the Thamizh month of Aani on the day of Moolam star.

HOW TO REACH HERE

Madhuraanthakam is a beautiful place located about 75 kms south of Chennai. While traveling from Chennai on the GST Road towards Trichy, Madhuraanthakam lies after crossing Chengalpattu.

[[Category:Temple]]

Kettavarampalayam Sri Ramar

2010-07-20T13:47:32Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Kettavarampalayam-a holy village is synonymous with Lord Sri Rama and Bhajans. Kettavarampalayam is very popular for its Sri Rama Navami celebrations. Every year all 10 days of Sri Rama Navami is celebrated with utmost devotion by the natives. Though most of the native villagers have migrated and settled in various places, everyone gathers during these 10 days of Sri Rama Navami to celebrate Sri Rama.

It is said that this village was once called Kashtaharampalayam (a place where ones difficulties are overcome) and in later days known as Kettavarampalayam (means granting boons as per wishes) as many devotees’ wishes were granted by Lord Sri Rama here.

This is one place where one can hear, see and feel Sri Rama Nama round the clock on all the 10 days of Sri Rama Navami.

This tradition was started over a century ago in 1907 by one Sri Janakirama Dhikshithar in a small way during Sri Rama Navami. This cult has been carried forward through generations by various Baagavathas during various periods and now has evolved as a very popular place for Sri Rama and Sampradaaya Bhajans. An unique feature of Bhajans at Kettavarampalayam is that the entire Bhajan from start to finish is rendered in the standing posture by everyone, irrespective of the number of hours.

Kettavarampalayam celebrates the 103rd year of Sri Rama Navami this year with the same faith and devotion instilled by their ancestors. Every year during these 10 days devotees throng from various parts of the country to witness the festival and take part in it. It is a feast for the soul to watch the proceedings during the festival at Kettavarampalayam.

All the above happens, not in some ancient temple or a grand auditorium but in a simple Mandapam constructed and maintained exclusively for this cause. The shrine does not even have an idol of Sri Rama, but has a beautiful image of Sri Rama Pattaabhishekam with divine charm. This place is called Sri Rama Bhajanai Mandhiram.

The festival here starts on Sri Rama Navami day and goes on for 10 days with various events happening on each day. Sri Rama Seetha Kalyanam (Ram Sita Marriage festival) is very popular here. The festival ends with Hanumanthothsavam on the last day.

Lakshaarchana is conducted every day on all the days of the festival. One can witness Lakshaarchana, Vedic chanting, Ashtapathis, Sampradaaya Bhajans and much more happening round the clock in this village. It is said that, in Kaliyuga, Bhajans and Nama Sankeerthanams are the best way to reach God.

Unjavruthi tradition is very popular here, where Baagavathas reciting Bhajans on the street visit every house collecting Bhiksha. Members from every house offer rice as Bhiksha which is collected and offered to the Lord here.

Also very renowned Baagavathas and Bhajan groups come and perform Bhajans every year in this village.

On entering the village, there is an arch constructed during the centenary year which welcomes us towards Sri Rama Mandhiram. Sri Rama Mandhiram is present in the same street with Sri Rama in His beautiful Pattaabhishekam posture. Devotees in large numbers visit this place during Sri Rama Navami days. The photographs of all the scholars including Sri Janakirama Dhikshithar who started Sri Rama Navami here and others who were instrumental in keeping the
Kettavarampalayam tradition alive are preserved and displayed in this Mandhiram.

A trust called Kettavarampalayam Sri Rama Bhajanai Mandhiram Trust was formed by the local people and they have constructed a huge Mandapam to accommodate, free of cost, the visiting pilgrims. Pilgrims can have a comfortable stay at this Mandapam which is attached with all the basic amenities.

Irrespective of the number of visitors, the trust feeds each and every pilgrim visiting this place right from coffee, breakfast, lunch and dinner every day during these 10 days. There is a vast dining hall just behind Sri Rama Mandhiram which feeds thousands of pilgrims every year.

The native people have also recently formed a Vedha Paatasaala (Vedic school) to teach Vedhas to aspiring children. The Paatasaala is run in this village itself with about 4 residential students for now.

This village has a small beautiful temple for Sri Kasi Viswanathar. Another feature of this village is its ancient hill temple called Malaikkovil where Sri Venkatesa Perumaal is blessing the devotees.

The very popular Parvathamalai is just next to this village. The dharshan of beautiful Parvathamalai and the hill temple can be had from this village itself.

Thus Kettavarampalayam is sanctified by various temples around it and with Sri Rama Nama being chanted for over a century. There is also an age old saying that “One should visit Kettavarampalayam at least once in their life time”.

HOW TO REACH
Kettavarampalayam is a small village located about 20 kms south west of Polur. Polur can be reached by road from Chennai or Thiruvannamalai and also from Vellore. Buses which ply from Polur to Melcholankuppam stop at Kettavarampalayam.

'''Contact details:'''

Sri Rama Bhajanai Mandhiram,
Kettavarampalayam, Via Adamangalam S.O,
Thiruvannamalai District – 606901,
Tamilnadu.

Tel: (Chennai) 91 44 4553 4041

[[Category:Temple]]

Thiruverkaadu Sri Vedhapureeswarar

2010-07-20T04:05:58Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Though Thiruverkaadu is much known for Sri Karumari Amman temple, there’s another ancient and older temple for Lord Shiva, called as Sri Vedhapureeswarar (also called Verkaatteesarar). Goddess here is Sri Baalaambigai (also called Verkanni Ammai).

As per legends, once when Lord Brahma, the creator was on way to Mount Kailash, the playful child Lord Muruga asked him for the meaning of the Pranava Manthra "OM". When Brahma admitted that he did not know it, Lord Muruga imprisoned him. As a result, all creation came to a standstill and the Devas prayed to Lord Siva to get Brahma released.

Lord Shiva sent Sri Nandhigeswarar to talk to Lord Muruga and rescue Lord Brahma. But Lord Muruga did not listen to Sri Nandhigeswarar. So, Lord Shiva Himself decided and went to Lord Muruga and convinced Him to release Lord Brahma.

Since Lord Muruga did not obey the words of Sri Nandhigeswarar, Lord Shiva ordered Him to go to Thiruverkaadu and worship Him there. Lord Muruga visited Thiruverkaadu, formed a Theertham (Pond) using his Vel (His spear weapon), installed a Shiva Lingam and worshipped Lord Shiva here. The Theertham created by Lord Muruga is called Velaayudha Theertham.

In this temple, we can see Lord Muruga in a separate shrine without any weapons in His hand. Also there is a Shiva Lingam seen in front of Lord Muruga which is rare to see.

Another history connected to this temple is, during Lord Shiva’s wedding, everyone including Gods, Devas and Saints gathered at Mount Kailash to witness the celestial event. Because of this, the whole earth tilted towards North, where everyone gathered. Lord Shiva directed Sage Agasthiar to go towards South to balance the earth. Sage Agasthiar prayed the Lord saying that he will not be able to see the God’s wedding.

Lord Shiva granted him a boon that from wherever He prays the Lord, he can have the dharshan of His wedding. Sage Agasthiar on his way stayed here at Thiruverkaadu and worshipped Lord Shiva and had the Dharshan of Lord Shiva’s wedding. One can see Lord Shiva and the Goddess’s in ceremonial wedding posture just behind the Shiva Lingam inside the sanctum. Sage Agasthiar was blessed to have God’s dharshan from various places and Thiruverkaadu is one among them.

The temple is constructed on a vast area and the Raja Gopuram is facing east. The Rajagopuram is 5 tiered and has various sculptures on it.

Sri Nandhigeswarar is so beautifully sculptured at the outer praakaaram decorated with many flowers and Vilvam, allowing us to have the Dharshan of Sri Vedhapureeswarar.

In the sanctum, we can see Sri Vedhapureeswarar in the form of Shiva Lingam and behind that the wedding posture of Lord Shiva and Sri Parvathi.

At the inner praakaaram, we can see the Naalvar viz Appar, Sundharar, Manickavaasagar and Thirugnanasambandhar. Along with them are seen the others among 63 Naayanmaars in a row at the southern praakaaram.

Sri Dhakshinamurthy is found at the southern side of the praakaaram. At the south western side there is a separate shrine for Sri Sannadhi Vinayagar.

The sanctum is apsidal which is called Gajabrishta shape (Thoonganai Maadam). Sri Lingothbavar is present behind the sanctum on the outer wall.

Just behind the sanctum, Sri Kasi Viswanathar, Sri Visalakshi, Anabaya Chozhan and Sekkizhar are seen facing East towards Sri Lingothbavar.

Sri Sandigeswarar is facing south towards the Lord and another Sri Sandeeswarar is also seen sitting and meditating the Lord looking towards the sanctum.

The Vimaanam of the sanctum is of the Gajabrishta shape.

Ambaal Sri Balambigai is facing south and has Simha Vaahanam facing Her towards north.

The Shiva Ganaas are seen on the top of the walls of the temple on specific directions, guarding the whole temple.

There is a tall and beautiful Dhwajasthambham adding beauty to the temple.

There is a separate shrine for Sri Saneeswarar and Sri Moorgha Naayanaar on the north eastern side of the outer praakaaram. It is said that Sri Moorgha Naayanaar was born here at this place.

Sri Arunagirinaathar has sung Thiruppugazh on Lord Muruga here and has a separate shrine facing west on the south eastern side.

The Sthala Viruksham is called VeLvela Maram which is seen on the outer praakaaram. There is a Shiva Lingam and Sri Nandhi under the Sthala Viruksham. The Theertham of this temple is called Velaayudha Theertham formed by Lord Muruga, which is under renovation now.

Thiruverkaadu is one of the 275 Paadal Petra Sthalams for Lord Shiva (Thiru Gnana Sambandar has sung hymns on Lord Shiva here) and is one of the renowned temples in Thondai Mandalam, which is worth visiting.

HOW TO REACH HERE
Thiruverkaadu is situated about 20 kms from Chennai city well connected by road, rail and air. It lies on the road branching out off Mount Poonamalli Road near Kumananchaavadi.

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[[Category:Temple]]

Thiruverkaadu Sri Karumaari Amman

2010-07-20T03:37:36Z

K. Ravindranath:

{{Author|Saravanan Iyer}}

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Sri Karumaari Amman temple is situated in Thiruverkaadu. This temple is much popular in Chennai.Apart from this, Thiruverkaadu has also an ancient temple for Lord Shiva called as Sri Vedhapureeswarar temple,

According to the legends, once Sri Karumaari Amman took form of a fortune teller and went to Sun God for predicting his future. Sri Surya Bhagawan neglected Her and Sri Ambaal vanished from his sight, because of which Sun God lost his powers and glory. Then Surya Bhagawan realized that it was none other than the Goddess Herself and came and worshipped her here at Thiruverkaadu, seeking apologies. Goddess pardoned him with mercy and Sri Surya Bhagawan requested her to bless that Sunday (Sun God’s day) be the auspicious day for the Devi here. Goddess obliged him. Also the Sun God spread His rays on the Goddess here during the Thamizh months of Panguni and Purattaasi to show His devotion to the Goddess.

In ancient days, this place was a forest filled with VeLvela trees and hence was called as Velankaadu, which later turned to get its present name. It is also said that Lord Muruga, before His battle with the demon king Surapadhman, got His weapon ‘Vel’ (spear) from Sri Karumaari Amman here and so the place was called as Velankaadu.

It is said that Sri Vinayagar (Lord Ganesha) worshipped the Goddess here by performing Abhishegam using Valampuri Sanghu (Conch with right twist formation). The Goddess was pleased with His worship and blessed Him and decreed that the poojas at the temple will first be performed to Sri Vinayagar and then only to Her. Sri Vinayagar can be seen present in the temple just as we enter the temple near the Dhwajasthambham (flag staff). While entering the temple, one has to pray to Lord Ganesha and then go further to worship Sri Karumaari Amman.

Once, when the Asuras gave troubles to Devas, they came and worshipped Lord Shiva at Thiruverkaadu, to save them. Lord Shiva called His Devi Sri Verkanni and directed Her to look after His duties till He is back from Devaloka. Lord Shiva gave her the holy ashes from His body and blessed Her. The Goddess asked Sage Agasthiyar to look for a holy place where she can perform the heavenly duties assigned by Lord Shiva. When Sage Agasthiyar was thinking of such a place, he heard an Asareeri (a holy voice) saying that the place where he was standing itself is a holy place. Goddess took abode here as Sri Karumaari Amman and also blessed the place with the importance that one will be removed of all the sins by worshipping Her at Thiruverkaadu.

Thiruverkaadu is the place where all 3 Gods, Brahma, Vishnu and Shiva have worshipped the Goddess. Hence She is called as Sri Karumaari here. Ka means Brahma, Ru means Rudhra or Shiva, and Ma means Vishnu.

The temple here is facing east. There is a beautiful Rajagopuram to enter the temple. Once we enter Sri Vinayagar is seen on an elevated shrine under a tree.

After crossing Sri Vinayagar, the sanctum of Goddess Sri Karumaari Amman is seen. The Goddess is facing east. It is said that originally the Goddess evolved from an ant hill. Amman is so beautiful with a smiling face and decorated well with much flowers.

Sri Subramanyar is found at the praakaaram around the sanctum. Navagrahas are found at the north eastern side of the temple. Sri Brahma is found on one of the walls facing north.

There is another small shrine adjacent to this temple, where a huge ant hill is found under a Peepul tree. Devotees offer milk and eggs for the snakes in this ant hill. Camphors are also lit here to offer worship. The entire ant hill is yellow in color as devotees have applied turmeric powder on it for many generations.

The temple pond is found in front of the temple which is so beautiful with a small Mandapam in the middle.

A tall and beautiful temple Chariot is parked in a separate Mandapam adjacent to the temple.

Thiruverkaadu attracts thousands of devotees and tourists everyday from various parts of the country. Sri Ambaal here is believed to be so powerful granting the wishes of the devotees worshipping her.

HOW TO REACH HERE
Thiruverkaadu is situated about 20 kms from Chennai city which has rail, road and air connections. It lies on the road branching out off Mount Poonamalli Road near Kumananchaavadi.

[[Category:Temple]]

Karungaali Sri Chinthaamaneesarar

2010-07-20T03:14:52Z

K. Ravindranath:

{{Author|Saravanan Iyer}}
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Karungaali is a small village located in the north western side of Chennai. Karungaali has a beautiful temple dedicated to Lord Shiva called Sri Chinthaamaneeswarar, amidst scenic surroundings.

The speciality of this temple is that, it has sea in front, a river behind and forest on either sides. It is a very rare sight to see a temple amidst such a natural setting.

Lord Shiva has 5 faces;i.e. Isaanam, Thathpurusham, Vaamadhevam, Sathyojaatham and Agoram. There are 5 Shiva temples in and around Chennai, representing each of the 5 faces of the Lord. Out of those 5 this temple represents the Agora face of Lord Shiva the other 4 being Ramagiri Sri Vaaleeswarar (Isaanam), Suruttuppalli Sri Pallikondeeswarar (Thathpurusham), Aarani (near Periyapaalayam) Sri Sampangi Pichaaleeswarar (Vamadhevam) and Ariyathurai Sri Varamoortheeswarar (Sathyojaatham). Interestingly, all these 5 temples lie on the banks of Brahmaranya (Arani) river.Karungaali, where this temple is located, is where the Brahmaranya (Arani) river finally merges into the Bay of Bengal ocean.

As per legend, there lived a Rishi (Sage) by name Sattai Muni who performed Thapas (penance) in this place on the banks of Brahmaranya River. It is said that he enshrined the deity at this temple and worshipped Lord Shiva here. According to the inscriptions, the temple is over 1300 years old.

The temple is beautifully located with the river on one side and the sea on the other. The sanctum is small and there are no boundary walls to the temple. There are other shrines located outside the sanctum for other deities. The main deity Sri Chinthaamaneeswarar is so majestic and beautiful, facing east towards the sea.

A wonderful Nagaabharanam (coiled serpent) adds beauty to the Shiva Lingam. Dwarapaalakas (door keepers) are seen guarding outside the sanctum. Sri Nandhigeswarar is seen facing the Lord towards the sanctum.

Lord Ganesha (Vinayakar) and Sri Murugar are present on either sides of the sanctum with the names, Sri Chinthaamani Vinayagar and Sri Chinthaamani Murugar respectively.

There is a small shrine outside the sanctum where Ambaal Sri Sivakaamavalli is seen facing east. There is also a Simha Vaahana facing the Goddess. Adjacent to Ambaal, there is another small Shiva Lingam present with another Nandhi. There are also other deities like Sri Dhandaayudhapani (Murugar), Sri Mahavishnu, Sri Nagar and Sri Durgai next to each other, present in the same shrine.

On the north eastern side, outside the sanctum, there is a separate shrine for Sri Kaala Bhairavar. This temple is also considered a Bhairava Kshethram where people worship Lord Bhairavar for a sooner marriage and other wishes.

The Vimana above the sanctum is built in Gajabrishta shape to look like the back of a sleeping elephant which in Thamizh is called Thoonganai Maadam, a Chozha style of temple architecture. This temple is said to be built during the Chozha period.

This temple is considered equivalent to Kasi (Varanasi) and Rameshwaram as it lies both on the sea shore and the banks of a holy river. Performing annual rites to the ancestors during Amavasya (new moon) and Pournami (Full Moon) days here is considered equal to that of performing them at Kasi or Rameswaram. Many people visit here to do the annual rites to their ancestors.It is also believed that the Lord grant their wishes who worship Him here and stay overnight during Pournami days.

Sri Chinthaamaneeswarar is the Kuladheivam (clan God) for the fishermen in this village. Also the people of this village worship the Lord here by preparing Pongal at the temple, like how it is done in Amman temple in villages. It is very rare and unusual to see this type of worship in Shiva temples.

Chithra Pournami (Full moon day in the Thamizh month of Chithirai) is very popular here in this temple. People from neighbouring villages and also from other places throng here in the night of Chithra Pournami, prepare Pongal and offer to the Lord and worship Sri Chinthaamaneeswarar here. It is said that the entire place will be filled with people and everyone will be staying overnight on the sands during that night to get their wishes fulfilled.

HOW TO REACH THIS PLACE?
To reach Karungaali one has to take the road from Minjur towards Pazhaverkadu (Pulicat). After travelling about 10 kms from Minjur one can reach a village named ‘Kaattoor’. one has to take a right turn from Kaattoor and drive about 5 km (bad and sandy road amidst many salt lakes) to reach the banks of the river Arani.

After reaching the river Arani, one has to take a boat to cross it and reach the temple situated in Karungaali village. There is only one boat available and sometimes we have to wait for some time for the boat man to arrive. He charges Rs. 10/- for an up and down trip which takes hardly 5 minutes for each way. Alternatively, to reach the temple by road one can also take the Ennore Port Road, which will also lead to this temple.

Karungaali is worth visiting for its picturesque location and uniqueness in spite of distance and bad roads.
Temple contact : Sri Shanmugam (Temple Priest) - 98402 1413

[[Category:Temple]]

Karungaali Sri Chinthaamaneesarar

2010-07-18T02:04:28Z

K. Ravindranath:

{{Author|Saravanan Iyer}}
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[[image:KSC10.jpg|thumb]]
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[[image:KSC12.jpg|thumb]]

Karungaali is a small village located in the north western side of Chennai. Karungaali has a beautiful temple dedicated to Lord Shiva called Sri Chinthaamaneeswarar, amidst scenic surroundings.

The speciality of this temple is that, it has sea in front, a river behind and forest on either sides. It is a very rare sight to see a temple amidst such a natural setting.

To reach Karungaali one has to take the road from Minjur towards Pazhaverkadu (Pulicat). After travelling about 10 kms from Minjur one can reach a village named ‘Kaattoor’. one has to take a right turn from Kaattoor and drive about 5 km (bad and sandy road amidst many salt lakes) to reach the banks of the river Arani.

After reaching the river Arani, one has to take a boat to cross it and reach the temple situated in Karungaali village. There is only one boat available and sometimes we have to wait for some time for the boat man to arrive. He charges Rs. 10/- for an up and down trip which takes hardly 5 minutes for each way. Alternatively, to reach the temple by road one can also take the Ennore Port Road, which will also lead to this temple.

Lord Shiva has 5 faces;i.e. Isaanam, Thathpurusham, Vaamadhevam, Sathyojaatham and Agoram. There are 5 Shiva temples in and around Chennai, representing each of the 5 faces of the Lord. Out of those 5 this temple represents the Agora face of Lord Shiva the other 4 being Ramagiri Sri Vaaleeswarar (Isaanam), Suruttuppalli Sri Pallikondeeswarar (Thathpurusham), Aarani (near Periyapaalayam) Sri Sampangi Pichaaleeswarar (Vamadhevam) and Ariyathurai Sri Varamoortheeswarar (Sathyojaatham). Interestingly, all these 5 temples lie on the banks of Brahmaranya (Arani) river.Karungaali, where this temple is located, is where the Brahmaranya (Arani) river finally merges into the Bay of Bengal ocean.

As per legend, there lived a Rishi (Sage) by name Sattai Muni who performed Thapas (penance) in this place on the banks of Brahmaranya River. It is said that he enshrined the deity at this temple and worshipped Lord Shiva here. According to the inscriptions, the temple is over 1300 years old.

The temple is beautifully located with the river on one side and the sea on the other. The sanctum is small and there are no boundary walls to the temple. There are other shrines located outside the sanctum for other deities. The main deity Sri Chinthaamaneeswarar is so majestic and beautiful, facing east towards the sea.

A wonderful Nagaabharanam (coiled serpent) adds beauty to the Shiva Lingam. Dwarapaalakas (door keepers) are seen guarding outside the sanctum. Sri Nandhigeswarar is seen facing the Lord towards the sanctum.

Lord Ganesha (Vinayakar) and Sri Murugar are present on either sides of the sanctum with the names, Sri Chinthaamani Vinayagar and Sri Chinthaamani Murugar respectively.

There is a small shrine outside the sanctum where Ambaal Sri Sivakaamavalli is seen facing east. There is also a Simha Vaahana facing the Goddess. Adjacent to Ambaal, there is another small Shiva Lingam present with another Nandhi. There are also other deities like Sri Dhandaayudhapani (Murugar), Sri Mahavishnu, Sri Nagar and Sri Durgai next to each other, present in the same shrine.

On the north eastern side, outside the sanctum, there is a separate shrine for Sri Kaala Bhairavar. This temple is also considered a Bhairava Kshethram where people worship Lord Bhairavar for a sooner marriage and other wishes.

The Vimana above the sanctum is built in Gajabrishta shape to look like the back of a sleeping elephant which in Thamizh is called Thoonganai Maadam, a Chozha style of temple architecture. This temple is said to be built during the Chozha period.

This temple is considered equivalent to Kasi (Varanasi) and Rameshwaram as it lies both on the sea shore and the banks of a holy river. Performing annual rites to the ancestors during Amavasya (new moon) and Pournami (Full Moon) days here is considered equal to that of performing them at Kasi or Rameswaram. Many people visit here to do the annual rites to their ancestors.It is also believed that the Lord grant their wishes who worship Him here and stay overnight during Pournami days.

Sri Chinthaamaneeswarar is the Kuladheivam (clan God) for the fishermen in this village. Also the people of this village worship the Lord here by preparing Pongal at the temple, like how it is done in Amman temple in villages. It is very rare and unusual to see this type of worship in Shiva temples.

Chithra Pournami (Full moon day in the Thamizh month of Chithirai) is very popular here in this temple. People from neighbouring villages and also from other places throng here in the night of Chithra Pournami, prepare Pongal and offer to the Lord and worship Sri Chinthaamaneeswarar here. It is said that the entire place will be filled with people and everyone will be staying overnight on the sands during that night to get their wishes fulfilled.

Karungaali is worth visiting for its picturesque location and uniqueness in spite of distance and bad roads.
Temple contact : Sri Shanmugam (Temple Priest) - 98402 1413

[[Category:Temple]]

Karungaali Sri Chinthaamaneesarar

2010-07-18T01:49:51Z

K. Ravindranath:

{{Author|Saravanan Iyer}}
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Karungaali is a small village located in the north western side of Chennai. Karungaali has a beautiful temple dedicated to Lord Shiva called Sri Chinthaamaneeswarar, amidst scenic surroundings.

The speciality of this temple is that, it has sea in front, a river behind and forest on other sides. It is a very rare sight to see a temple amidst such a natural setting.

To reach Karungaali one has to take the road from Minjur towards Pazhaverkadu (Pulicat). After crossing about 10 kms from Minjur one can reach a village by name ‘Kaattoor’. Take a right turn from Kaattoor and drive about 5 km (bad and sandy road amidst many salt lakes) to reach the banks of the river Arani.

After reaching the river Arani, one has to take a boat to cross it and reach the temple situated in Karungaali village. There is only one boat available and sometimes we have to wait for some time for the boat man to arrive. He charges Rs. 10/- for an up and down trip which takes hardly 5 minutes for each way. Alternatively, to reach the temple by road one can also take the Ennore Port Road, which will also lead to this temple.

Lord Shiva has 5 faces;i.e. Isaanam, Thathpurusham, Vaamadhevam, Sathyojaatham and Agoram. There are 5 Shiva temples in and around Chennai, representing each of the 5 faces of the Lord. Out of those 5 this temple represents the Agora face of Lord Shiva the other 4 being Ramagiri Sri Vaaleeswarar (Isaanam), Suruttuppalli Sri Pallikondeeswarar (Thathpurusham), Aarani (near Periyapaalayam) Sri Sampangi Pichaaleeswarar (Vamadhevam) and Ariyathurai Sri Varamoortheeswarar (Sathyojaatham). Interestingly, all these 5 temples lie on the banks of Brahmaranya (Arani) river.Karungaali, where this temple is located, is where the Brahmaranya (Arani) river finally merges into the ocean.

As per legend, there lived a Rishi (Sage) by name Sattai Muni who performed Thapas (penance) in this place on the banks of Brahmaranya River. It is said that he built this temple and worshipped Lord Shiva here. According to the inscriptions, the temple is over 1300 years old.

The temple is beautifully located with the river on one side and the sea on the other. The sanctum is small and there are no boundary walls to the temple. There are other shrines located outside the sanctum for other deities. The main deity Sri Chinthaamaneeswarar is so majestic and beautiful, facing east towards the sea.

A wonderful Nagaabharanam adds beauty to the Shiva Lingam. Dwarapaalakas are seen guarding outside the sanctum. Sri Nandhigeswarar is seen facing the Lord towards the sanctum.

Lord Ganesha (Vinayakar) and Sri Murugar are present on either sides of the sanctum with the names, Sri Chinthaamani Vinayagar and Sri Chinthaamani Murugar respectively.

There is a small shrine outside the sanctum where Ambaal Sri Sivakaamavalli is seen facing east. There is also a Simha Vaahana facing the Goddess. Adjacent to Ambaal, there is another small Shiva Lingam present with another Nandhi. There are also other deities like Sri Dhandaayudhapani (Murugar), Sri Mahavishnu, Sri Nagar and Sri Durgai next to each other, present in the same shrine.

On the north eastern side, outside the sanctum, there is a separate shrine for Sri Kaala Bhairavar. This temple is also considered a Bhairava Kshethram where people worship Lord Bhairavar for a sooner marriage and other wishes.

The Vimana above the sanctum is built in Gajabrishta shape to look like the back of a sleeping elephant which in Thamizh is called Thoonganai Maadam, a Chozha style of temple architecture. This temple is said to be built during the Chozha period.

This temple is considered equivalent to Kasi (Varanasi) and Rameshwaram as it lies both on the sea shore and the banks of a holy river. Performing annual rites to the ancestors during Amavasya (new moon) and Pournami (Full Moon) days here is considered equal to that of performing them in Kasi or Rameswaram. Many people visit here to do the annual rites to their ancestors.It is also believed that the Lord grant their wishes who worship Him here and stay overnight during Pournami days.

Sri Chinthaamaneeswarar is the Kuladheivam (clan God) for the fishermen in this village. Also the people of this village worship the Lord here by preparing Pongal at the temple, like how it is done in Amman temple in villages. It is very rare and unusual to see this type of worship in Shiva temples.

Chithra Pournami (Full moon day in the Thamizh month of Chithirai) is very popular here in this temple. People from neighbouring villages and also from other places throng here in the night of Chithra Pournami, prepare Pongal and offer to the Lord and worship Sri Chinthaamaneeswarar here. It is said that the entire place will be filled with people and everyone will be staying overnight on the sands during that night to get their wishes fulfilled.

Karungaali is worth visiting for its picturesque location and uniqueness in spite of distance and bad roads.
Temple contact : Sri Shanmugam (Temple Priest) - 98402 1413

[[Category:Temple]]

Varanasi

2010-06-17T12:30:04Z

K. Ravindranath:

'''By Swami Varishthananda'''

== Varanasi: The city of Light ==

Once, some of us monks were taking a boat ride on the Ganga in Varanasi. Kashi’s son was our boatman. Kashi is the head of the family whose members have traditionally been the boatmen for the monks and devotees of the Ramakrishna Mission. Like the average Banarasi, he too is a great storyteller. Ours was primarily a non-Hindi-speaking group. But Kashi was not to be intimidated by this. As soon as the boat was free from its moorings, he started briefing us in his broken English: ‘Varanasi is famous for three things—learning, burning, and turning.’ Even as we were all intrigued by the ‘turning’, he went on to elaborate—with a great sense of drama— how Varanasi has been famous throughout its history for ‘learning’ and ‘burning’! He then asked us what it was that struck us as so very evident in Varanasi—this city of learning and burning? Before we could venture a reply, he added philosophically: ‘Squalor and dirt! And why is this so? The reason is that every time a senior officer decides to change the situation in Varanasi, he is transferred—that’s the “turning” part of Varanasi!’

Yes, this is the story of Varanasi, the city of ethereal holiness and sanctity. Situated on the western bank of the Ganga as it takes a northward turn in eastern Uttar Pradesh, it is bounded by the small tributaries Varuna and Asi which give it its name. This is the story of Kashi, the city of light and liberation, which name is derived from the same Sanskrit root as ''prakāśa'', which means light—''kāśayati prakāśayati iti kāśi''. This is the story of the eternal abode of Baba Vishwanatha, the Lord of the Universe, the presiding deity of the city, the ''raison d’être'' of this ‘holiest of holy’ cities of the Hindus— a place of pilgrimage not only for Hindus, but also for Buddhists, Jains, and Muslims. This is the story of Benares, the corrupted English form of the original Pali ‘Baranasi’—the city of sannyasins and sages, of savants and scholars, of statesmen and stars, of saints and sinners. Finally, this is the story of the city which gave to the world the modern incarnation of Shiva—Vireshwara Shiva, Biley, Swami Vivekananda—who made the city the home of the Ramakrishna Mission Home of Service—the embodiment of his philosophy of ''shiva jnane jiva seva'', service of God manifest in humans!

== The Holy City of Vishwanatha ==

Once Swami Bhuteshananda, the twelfth president of the Ramakrishna Order, was reminiscing about his days with Mahapurush Maharaj, Swami Shivananda, the second president of the Order. Having gladly given his assent to Swami Bhuteshananda’s ardent desire to lead a life of austerity in solitude, Mahapurush Maharaj told him: ‘You go to Kashi; Kashi, the abode of Vishwanatha, is a place especially favourable for austerities’. This is the quintessence of Varanasi: its vibrant spiritual atmosphere. Hindu mythology asserts that this eternal city of Lord Shiva, which does not get destroyed during ''pralaya'', is resting on the trishul of Shiva. Topographically, the three main Shivas—Omkareshwara, Vishweshwara (Vishwanatha), and Kedareshwara are indeed situated on top of three hills which constitute Varanasi. Even today when one enters the shrine of Baba Vishwanatha, as the Lord of the Universe is lovingly called by his votaries, after having taken a dip in the purifying waters of Mother Ganga and having wound one’s way through the reassuringly familiar Vishwanatha Gali (lane), and having paid one’s obeisance to Dhundhiraja Ganesha, in the midst of much hustle and bustle with sounds of ringing bells and chants of ‘Hara, Hara, Mahadeva’ reverberating all around, this dense spiritual atmosphere is palpable; it envelops perceptive devotees and raises their consciousness to the feet of the Lord, where it remains effortlessly held.

[[image:Annapurna_Temple_Entrance.jpg|thumb|Entrance to Annapurna temple]]
The atmosphere of holy spirituality is undoubtedly densest within the precincts of the shrine of Vishwanatha, especially in the sanctum sanctorum; yet the whole atmosphere of Varanasi is spiritually surcharged and is especially conducive to religious and scholastic pursuits and spiritual growth. No wonder then that this city of celestials is home to all gods and goddesses, and attracts monastics and lay persons from all the various sects, denominations, and sub-sects of Hinduism.

[[image:Golden_Spire.jpg|thumb|golden spires of Vishwanatha temple]]
Across the lane that leads to the golden-spired shrine of Baba Vishwanatha, is the temple of Ma Annapurna. These two temples symbolize the essence of Indian culture, eloquently articulated in this well-known couplet:

Mātā me pārvatī devī pitā devo maheśvara;
Bāndhavāḥ śiva-bhaktāśca svadeśo bhuvana-trayam.

My mother is Devi Parvati; my father Lord Maheshwara,
my relatives are Shiva’s devotees, and
my home all the three worlds.

Even today, it is a treat to watch two Banarasis meeting within the precincts of these temples and joyously greeting each other with ‘Hara, Hara, Mahadeva, Hara, Hara, Hara!’

Both these temples have a number of smaller shrines within their precincts. Mother Annapurna’s is a ‘golden’ image with a bowl and spoon in hand—she feeds the entire universe with ''anna'' (food). Besides the image in which she is available for daily darshan, there is one made of solid gold which is unveiled for darshan only on the three days of Diwali. Devotees consider the darshan of the golden Annapurna to be especially efficacious for obtaining life-sustaining ''anna''! On the last day of this darshan, the Annakuta (mountain of food) festival is observed in the temples of both Mother Annapurna and Baba Vishwanatha. The one prayer which all her devotees have in their hearts and on their lips is:
Annapūrṇe sadāpūrṇe śaṅkara-prāṇa-vallabhe;
Jnāna-vairāgya-siddhyarthaṁ bhikṣāṁ dehi ca
pārvati.
O Annapurna, who art ever-full! O beloved
of Shankara! O Parvati! Grant us alms that
we be firmly established in knowledge and
renunciation.

Though the shrines of Baba Vishwanatha and Ma Annapurna are the principal temples of Kashi, Tirtharaja Kashi has numerous other shrines, including those corresponding to other important shrines of India—from that of Kedaranatha in the north to Rameshwaram in south India. In fact, there is a popular Hindi saying: ‘''Kashi ke kankar sab shiv shankar''; even the pebbles of Kashi are all Shiva!’ However, among the numerous shrines in this city of temples—each with its own uniqueness and glory—the important ones include the temples of Sankata Mochana, Durga Kunda, Kedaranatha, Kala-Bhairava, Vireshwara Shiva, Bindu Madhava, Tila-bhandeshwara, Bharata Mata, and Vishwanatha (at BHU).

The medieval poet-saint Tulsidas was one of Kashi’s famous residents. It was his daily practice to pour some water at the foot of a certain tree. A ghost who happened to live on this tree—and ghosts are known to be particularly thirsty creatures— was highly pleased with this service of Tulsidas’s and decided to grant him a boon. The devotee that he was, Tulsidas asked the ghost for a vision of Sri Rama. The ghost directed Tulsidas to a place where a discourse on the Ramayana was in progress and which Hanuman was attending in the guise of an old Brahmana afflicted with leprosy. Tulsidas went to the designated spot, recognized Hanuman, and was directed to go to Ayodhya for the darshan of Sri Rama. Tulsidas, in turn, requested Hanuman to remain in Kashi for the good of the world. Later on, digging deep at that very spot, Tulsidas discovered an image of Hanuman. This he consecrated as Sankata Mochana—the remover of perils. Hanuman or Mahavira is Rudravatara—the incarnation of Rudra-Shiva. He is a great devotee of Sri Rama. The temple of Sankata Mochana is an important place of religious worship and cultural festivities.

Next to Sankata Mochana is the famous temple of Divine Mother Durga—popularly known as Durga Kunda because it is situated beside a big tank with the same name. The ''Devi Mahatmya'' reminds us that people worship Mother Durga because—
Durge smṛtā harasi bhītim-aśeṣa-jantoḥ
svasthaiḥ smṛtā matim-atīva śubhāṁ dadāsi;
Dāridrya-duḥkha-bhaya-hāriṇi kā tvadanyā
Sarvopakāra-karaṇāya sadārdracittā.

Remembered in distress you remove the fears of all beings, remembered in happier times you bestow the most beneficent
of intellects; who other than you—whose heart bleeds for all—can remove poverty, unhappiness, and fear?

[[image:Bindhu_Madhava_Shrine.jpg|thumb|The shrine of Bindu Madhava]]
Varanasi has the unique distinction of having separate temples dedicated to all the nine forms of Mother Durga: Shailaputri, Brahmacharini, Chandraghanta, Kushmanda, Skandamata, Katyayani, Kalaratri, Mahagauri, and Siddhidatri, as well as to all the nine manifestations of Gauri. This is but natural, for Varanasi is the abode of all the gods and goddesses in their myriad forms.

Not only the gods, but all the ''tīrthas'' too reside in Varanasi. One of the most famous of these ''tīrthas'' is Kedareshwara. Situated on the banks of the Ganga, a steep flight of steps leads up to this temple with red and white vertical stripes painted on its outer walls in the fashion of South Indian temples. This linga of Shiva is ''svayaṁbhū'', ‘self-manifest’. During her visit to this temple, Holy Mother Sri Sarada Devi also confirmed the scriptural assertion that this self-manifest Kedara is the same as the Kedaranatha seated in the Garhwal Himalayas and that one gets the same religious benefits on darshan of either of these Kedara lingas. However, the location of this ''tīrtha'' in Kashi endows the entire Kedara ''kṣetra'' (territory) with power to directly liberate all persons who die within its territory, without even having to suffer at the hands of Kala Bhairava, the master of time. Incidentally, the Ramakrishna Mission Home of Service is located in this kṣetra of Kedara—the great liberator!

Another important ''kṣetra'' is the Siddha Kshetra, the ‘Field of Fulfilment’. Here, above the Scindia Ghat, is the temple of Vireshwara, or ‘Lord of Heroes’. It is said that the sage Vishwanara, yearning for a son, did tapasya here and was blessed with a son, Vaishwanara, through Shiva’s boon. Even to this day Vireshwara Shiva is propitiated by couples who wish to have a son. Swami Vivekananda’s birth too followed such tapasya by his mother.

Immediately south of Scindia Ghat is Manikarnika Ghat, famous throughout India as the cremation ground where Shiva and Parvati confer liberation upon departed souls. It is this Manikarnika Ghat, along with the Harishchandra Ghat, named after the famous king whose name is synonymous with truth and generosity, that makes Kashi famous as the place of liberation through death. This mukti is sought after by numerous devout Hindus, especially in their old age—and this was the ‘burning’ part of our boatman’s story!

To the north of Scindia Ghat is the famous temple of Bindu Madhava, the deity whom Holy Mother found to be ''jāgrata'', awakened. Holy Mother also found Tila-bhandeshwara—the Shivalinga that keeps growing every day the size of a sesame seed, ''til''—to be particularly awakened. The story of Kashi temples and of pilgrimage to Kashi remains incomplete without a visit to the Kala Bhairava temple, the guardian angel of Kashi. Kala Bhairava has dogs for his mount, and this makes us, the residents of Kashi, wary of harming even stray dogs within the precincts of the city.

Finally we have the modern Kashi Vishwanatha temple on the Banaras Hindu University campus. The uniqueness of this modern two-storeyed temple is that it has shrines dedicated to each of the five important deities of the Hindu pantheon—Shiva, Vishnu, Durga, Ganesha, and Surya—with the sun shining outside the temple! But that is not all; adorning the walls of this temple are murals depicting the best of Indian tradition, not just Indian religions—from health, through history, to harmony of religions. It is a rare treat to spend a few hours in this temple with a knowledgeable guide, to be educated about the best elements in Indian culture—grammar, chemistry, statecraft, language, and architecture; the spiritual tradition of the Vedas, Upanishads, Ramayana, Mahabharata, Bhagavata, and ''Durga-saptashati''; the inspiring lives of saints and sages; family life and world peace; as well as Sankhya and Yoga. It also has the entire Bhagavadgita inscribed on its walls.

[[image:Kashi_Vishwanatha_Temple.jpg|thumb|Kashi Vishwanatha Temple at BHU]]
Like the temple it houses, Banares Hindu University or BHU is also unique. Apart from being reckoned the largest residential university campus in Asia—its two campuses are spread over 1,300 and 2,700 acres respectively—it is a seat of learning for virtually every important occidental and oriental branch of knowledge. The 3 institutes with 15 faculties and 127 departments of the university provide residential educational facilities in a host of disciplines—from Sanskrit studies and theology to rocket, missile, and ceramic engineering—to tens of thousands of students on a single campus. The education is subsidized and places little economic burden on the students. The university also has a museum, Bharat Kala Bhawan, with nearly a lakh exhibits including a rich collection of Indian miniature paintings, sculptures, a rare philatelic and numismatic collection, unique textiles, and galleries dedicated to Alice Bonner, Nicholas Roerich, M K Gupta, and Pandit Madan Mohan Malviya, the founder of BHU.

There are two other universities in Varanasi— the Mahatma Gandhi Kashi Vidyapith and Sampurnanand Sanskrit University. Besides, the city is also home to two deemed universities—the Safia Islamia and the Central Institute of Higher Tibetan Studies, as also two autonomous colleges: Udai Pratap College and Agrasen Girls Postgraduate College. Apart from these institutes of higher learning, Varanasi has numerous schools and colleges as well as many trusts and private institutes committed to good education. But it is the pundits of Varanasi that are especially famous throughout the length and breadth of the country, not only for their depth of scholarship, but also for not accepting money to impart knowledge. This is true of both monastic scholars as well as householder pundits. It is remarkable that in these days of globalization and commercialization Kashi still has great householder-scholars painstakingly imparting knowledge even to pupils of great means without accepting any monetary remuneration.

[[image:Manikarnika_Ghat.jpg|thumb|Manikarnika Ghat: the moksa-ksetra]]
It was at Sarnath near Kashi that Bhagavan Buddha set in motion the ‘wheel of Dharma’ with his first sermon following enlightenment. Sarnath had a huge Buddhist monastery as well as three stupas and an Ashokan pillar with a lion capital on top. The Sarnath museum is renowned for its pre-Gupta and Gupta period sculptures, of which the meditative Buddha and the Ashokan Lion Capital are the most famous. Saranath is also home to the Mahabodhi Society, which was started by Angarika Dharmapala on his return from the World Parliament of Religions—where he had been one of Swami Vivekananda’s co-delegates. With its many Buddhist and Jain temples, Sarnath is an important tourist and pilgrimage place for Buddhists and Jains alike. Varanasi and the neighbouring district of Jaunpur are also famous seats of Islamic studies. No wonder, this ancient city—‘older than history, older than tradition, older even than legend and [which] looks twice as old as all of them put together’, as Mark Twain put it—has been described by Sir Edwin Arnold as ‘the Oxford and Canterbury of India in one’! So much for the boatman’s ‘learning’.

== Varanasi: The City of Saints, Sages, and Savanths ==

Banaras, the city of Baba Vishwanatha, is unique in more than one way. Much of its history is yet to be written. It has rarely been an important political centre, and the rise and fall of its rulers throughout its long history has had little impact on the story of the city’s sanctity. What makes it special in comparison to such other ancient cities as Jerusalem, Beijing, and Athens is the fact that while the latter are moved today by an ethos very different from that which moved them in ancient times, Kashi, to a large extent, as maintained an age-old and hoary living tradition right up to the present day, and is therefore the cumulative face of the Hindu tradition.

== The City of Shiva ==

Varanasi is the city of Bhagavan Shiva: Shiva, the Mahayogi, the lord of yogis; Shiva, the Nataraja, the lord of dance and music; Shiva, the ''jyotirlinga'', the Light Supreme, Knowledge Supreme! Varanasi is truly the city of enlightenment, of illumination, of light.

Legend has it that when Bhagavan Shiva, the mountain ascetic, descended from the realm of perpetual meditation and married Parvati, daughter of the Himalayas, he chose the city of Varanasi, a beautiful place spanning a radius of five''krośas'' (ten miles), as their home; a move that played a major role in the ascendancy of Shaivism in north India. Over the centuries, Kashi’s connection with Shiva became so firm that by the time of the ''Kashi Khanda'', this city came to be seen as the ‘original ground’ created by Shiva and Parvati, upon which they stood at the beginning of time; a place from which the whole of creation came forth in the beginning, and to which it will all return in the fiery ''pralaya'' at the end of time. The legendary king Divodasa had once managed to occupy Kashi and evict Shiva and other deities on the strength of his virtue, dharma. After numerous efforts by the gods to induce Divodasa to err from dharma had failed, Shiva sent one of his attendants (''gaṇas''), Nikumbha, to empty the city for him. Nikumbha appeared in a dream to a barber, telling him to establish and worship the image of Nikumbha ''gaṇa'' (Ganesha) at the edge of the city. The barber did this, and Nikumbha Ganesha, the ‘lord of ''gaṇas''’, became popular with the citizens of Kashi for granting boons to those who propitiated him. Now, King Divodasa’s wife, Suyasha, was childless. She worshipped Nikumbha on several occasions to get a son, but her prayers were not answered. Enraged, Divodasa ordered the shrine of Nikumbha Ganesha destroyed. This provided Nikumbha the opportunity to pronounce a curse on the king and have the city emptied of all its inhabitants. When the city was vacated, Shiva arrived and re-established his residence there. Apparently Parvati was not fond of the city at first, but Shiva said to her, ‘I will not leave my home, for this home of mine is “Never-forsaken; Avimukta”.’ Such is Shiva’s attachment to Kashi, the Avimuktapuri.

== City of Saints ==

The legend of King Harishchandra is often narrated as the benchmark of an ideal life. He was known to always keep his word and never utter a lie. These twin qualities were tested heavily through various circumstances that led him to penury and separation from his family; but he never flinched from his principles. The sage Vishwamitra once approached him at Ayodhya and, reminding him of an earlier promise he had made, asked Harishchandra to give him his entire kingdom. Harishchandra immediately made good his word and started walking away with his wife and son, ''sans'' property, to Banaras. But the sage then demanded an additional amount as ''dakṣiṇā'' (honorarium). To pay this, Harishchandra, with no money at hand, had to sell his wife Chandramati and son Rohita to a brahmana family, and himself to a guard in charge of collecting taxes for the bodies to be cremated at the local cremation ground. Sometime later, Rohita was bitten by a snake and died. Chandramati took him to the cremation ground. Seeing her with the dead child, Harishchandra was stung by pangs of agony. But, duty-bound as he was, he asked for the taxes required for cremation. Chandramati offered him the only dress she had, the sari she was wearing, as tax. When she proceeded to remove her dress, the devas along with Vishwamitra appeared on the scene and, pleased with the unassailable character of the king, brought his son back to life, and offered a heavenly abode to the king, the queen, and all their subjects. This moving story is known to have particularly affected Mahatma Gandhi, who, after having watched a play on Harishchandra as a child, became deeply influenced by the virtue of truthfulness.

In keeping with this tradition, many great saints and sages made Banaras either their home or their workplace. Maharshi Veda Vyasa, credited with writing the Puranas and the Mahabharata, is reputed to have spent his life working in Kashi. He composed his ''Brahma Sutra'' in this very city. Sri Shankaracharya too came to Kashi and made it his workplace for quite some time—arguing that this especially sacred land would give him the zeal and energy to work in a more devoted manner. Many of his works were composed here in Kashi. In modern times, Swami Vishwarupananda also composed his Bengali magnum opus ''VedantaDarshan'' in Varanasi at the Ramakrishna Advaita Ashrama under very trying conditions.

== The Bhakti Movement ==

जाति पाति पूछे न कोई ।

हरि को भजे सो हरिका होई ॥

Let no one ask a person’s caste or with whom one eats;

devoted to Hari, one becomes Hari’s own.

This was declared by '''Ramananda (c.1400–c.1470)''', the pioneer of the medieval bhakti movement in north India. He belonged to the lineage of Ramanuja [this fact, though, has been contested by many Ramanandis] and lived a life of self-surrender and dedication. Once he went on a pilgrimage to south India. On his return, his companions refused to admit him into their fold, arguing that he might not have adhered to strict rules regarding food and other rituals during his long absence. This was a rude shock to him. He came out of the fold and became a liberal advocate of bhakti, and practised severe austerities at the Panchaganga Ghat in Banaras. According to him, Sri Rama was the Supreme Spirit and humanity was one big family.

[[image:Kabir.jpg|thumb|Kabir: unconventional poet and mystic]]
'''Kabir (1440–1518)''' • The adopted son of a poor Muslim weaver couple, Kabir was not bound by strict rituals or religious discipline, which made him an unconventional poet and mystic. His life centred on Kashi. He could not formally claim anyone as guru because of his humble origin, but was drawn to Ramananda’s teachings. One day while Ramananda was going down the ghat for a bath in the Ganga, his foot touched a human body in the darkness. Startled, he exclaimed, ‘Ram, Ram.’ Immediately, Kabir got up and with folded hands announced that, since he had given him the Ram-mantra, Ramananda had made him his ''śiṣya''—regardless of his religion. He also told him about his yearning to reach God. A pleased Ramananda accepted him as disciple.

Kabir was a saint of the masses. His simple compositions—''dohas'', couplets, and ''chaupais'', quatrains—go straight to the heart, are easy to remember, and have remained immensely popular, enabling people to grasp the essentials of a simple and profound life in the spirit. His admonitions remain equally popular:

माला तो कर में फ़िरै, जीभ फ़िरै मुख माही।

मानव तो चहुं दिसी फ़िरै, यह तो सुमिरन नाहीं ॥

The rosary keeps moving in the hand, the tongue in the mouth,

and the mind in all four directions; this surely is not remembrance.

'''Guru Ravidas (c.1398–c.1448)''' • Born in the cobbler community, Guru Ravidas (popularly known as Raidas) was a firm believer in karma. He did not worship any particular deity, believing in the one and only omniscient and omnipresent God:

कृष्ण करीम राम हरि राघव जब लग एक न पेखा |

बेद कबेद कुरान पुरातन सहज एक नहीं लेखा |

जोई जोई पुजिये सोई सोई काची |

कहैं रैदास मैं ताइकु पूजु जाके ठांव नांव नहीं कोई ||

Krishna, Karim, Ram, Hari, and Raghav—when none of them have been found near;

and the old Vedas, rules of conduct, and Quran are none written in easy style;

then whoever one worships turns out to be frail.

So, says Raidas, I worship that

which has neither any location, nor a name.

As news of this self-taught seer began to spread, people started thronging his humble abode seeking solace and advice. Conservative brahmanas of Kashi could not stand the popularity of this ‘untouchable saint’, and a complaint was lodged against him to the king on the grounds that he was working against age-old social norms. But when the king called Raidas to his court amidst an assembly of learned men, no one could match his spiritual knowledge and insights.

One legend describes Raidas as Mirabai’s guru. One of her compositions dedicated to Raidas lends credence to this belief.

'''Tulsidas (1543–1623)''' • The legend of Tulsidas’s passionate attachment to his wife Ratnavali (Buddhimati) is well known. Once when she went to her father’s place, Tulsidas followed her. Ratnavali felt shamed by his inordinate attachment and admonished him: ‘You have such fondness for this body of mine which is but skin and bones; if only you had the same devotion to Rama, you would not have had the fear of samsara.’ These words struck gold. Tulsidas abandoned home and became an ascetic. Not only was he able to redirect his attachment and convert it into bhakti, he could reach a state where he could say with the fullness of conviction:

सीया राममय सब जग जानि |

करऊँ प्रनाम जोरि जुग पानी ||

Knowing the entire world to be permeated by Sita and Rama,

I join my palms and offer pranams.

The literary excellence and popularity of his ''Ram-charit-manas'', the Hindi rendition of the Ramayana, led Nabha, the author of ''Bhaktamal'', to suggest that Tulsidas was Valmiki reincarnated. Tulsidas’s devotion to Rama found further expression in nearly a dozen works, including ''Vinay-patrika'', ''Dohavali'', ''Kavitavali'', and ''Gitavali''.

He spent a good portion of his life in Varanasi, where he passed away at Asighat.

== Saints of Modern Times ==

[[image:Trailanga_Swami.jpg|thumb|Trailanga Swami image in front of Devi Mangala Kali, Trailanga Swami Math]]
'''Trailanga Swami (c.1607–1887)''', famed for his yogic powers, is easily the most well-known of modern saints who lived at Kashi. Having met him at Manikarnika Ghat, Sri Ramakrishna described him thus: ‘I saw that the universal Lord Himself was using his body as a vehicle for manifestation. He was in an exalted state of knowledge. There was no body-consciousness in him. Sand there became so hot in the sun that no one could set foot on it. But he lay comfortably on it.’ He is reputed to have lived for nearly 280 years, over half of which he spent at Kashi. He freely roamed the streets, living sometimes at Asi Ghat or Dashashwamedha Ghat, at other times at the Vedavyasa Ashrama at Hanuman Ghat, and finally on a huge block of stone in the open courtyard of Mangal Das Bhatta’s small home at Panchaganga Ghat. He could read people’s minds like books, and drank poisonous liquids by the bowlful without dying. Once he was put in jail for violating city laws. Soon he was found walking on the jail roof. The truths of the scriptures about God-realized souls were clearly manifest in his being.

[[image:Swami_Bhaskarananda.jpg|thumb|left|Swami Bhaskarananda]]
[[image:Swami_Bhaskarananda_Samadhi_Mandir.jpg|thumb|Swami Bhaskarananda's Samadhi Mandir]]
'''Swami Bhaskarananda Saraswati (1833–1899)''' was also reputed for his austerity and saintly character.
Getting deeply interested in spiritual life when he was only eighteen, he travelled all over India as a wandering monk for many years. But, ‘even though I practiced such austerities, I gained very little; ignorance and sorrow were as deep as ever. Finally, [in 1868], I sat down here in this garden [Anandabag,near Durga Mandir] and resolved, “May God be realized or may this body die.” Now, you see, I get a little abiding bliss.’ He too was reputed to have yogic powers, and had foreseen his own death. Though his influence spanned all sections of society, the transformation of character of several notorious pandas wrought by his influence is especially worth mentioning.

'''Swami Karpatriji (1907–1982)''' is a more recent figure who, renouncing family and all material luxuries,
set out on his quest of the Unknown at the age of seventeen. Later he became a preacher of religion and did pioneering work in safeguarding the Indian tradition, having established the Dharma Sangha in Kashi for this purpose in 1940. He also published a Hindi daily ''Sanmarg'', which reflected his religious and political views, and composed various books in Hindi, including ''Vichar-piyush'' and ''Ramayan Mimamsa''. Karpatriji truly was knowledge, action, and devotion personified.

== The Literary Tradition ==

'''Bhartendu Harishchandra (1849–1882)''' is known as the father of modern Hindi literature. A poet, dramatist, journalist, and critic, he successfully brought about the transition of Hindi from the medieval tradition (''rīti'') to the modern era. His writings are marked by remarkable realism and capture ‘the agonies of India: unrest of the middle-class, hopes and aspirations of the youth, and urge for progress and removal of injustice’. He was also a social and religious activist, an accomplished actor, polemicist, and wit. The ''Kavi-vachan-sudha'' started by him in 1867 was the first journal published in the Hindi language. He followed it up with the ''Harishchandra Magazine'' (later called ''Harishchandra Patrika''), and the ''Balbodhini Patrika''. He was conferred the title ‘Bharatendu, moon of India’ by his fellow Banarasis for his remarkable achievements.

'''Jaishankar Prasad (1889–1937)''' is credited with initiating the chhayavada movement in modern Hindi literature, characterized by romanticism, mysticism, and symbolism. Prasad is especially known for his prose writings, though ''Kamayani'', an allegorical epic poem on Manu, is regarded by many as his best work. Apart from being a poet, he was also a philosopher, historian, and sculptor. His writings are an exquisite blend of art, philosophy, and history.

'''Munshi Premchand (1880–1936)''' is the penname of Dhanpat Rai, one of the greatest literary figures of modern Hindi and Urdu literature. Having lost his parents at a very young age, he faced poverty and struggle early in life, and these remained with him till death. His stories and novels reflect the harsh realities of life.

Premchand inaugurated the genre of fiction and made the short story a legitimate literary form in Hindi literature. His stories make a moral point or convey deep psychological truths. He was also active in the Swadeshi movement. In fact his very first collection of stories, ''Soz-e-Watan'' (Dirge of the Nation), was labelled seditious and destroyed. The first story of this anthology was ‘''Duniya Ka Sabse Anmol Ratan'', The Most Precious Jewel in the World’; and this was ‘the last drop of bloodshed in the cause of the country’s freedom’.

'''Pandit Madan Mohan Malaviya (1861–1946)''' was a great patriot, eminent educationist, renowned journalist, prominent social and religious reformer, erudite scholar, able parliamentarian, and eloquent speaker. A giant among men, Pandit Malaviya not only helped lay the solid foundation of Indian nationalism, but also worked tirelessly, year after year, to build—brick by brick and stone by stone—the noble edifice of India’s freedom. He was one of the few individuals to become the president of the Indian National Congress thrice: at Lahore (1909), Delhi (1918), and Calcutta (1933). Among his many achievements, the Banaras Hindu University stands out as a lasting legacy. The university came to be known as the ‘capital of knowledge’ even in his lifetime. He chose Banaras as the site for this university ‘because of the centuries-old tradition of learning, wisdom, and spirituality inherent to the place. His vision was to blend the best of Indian education culled from the ancient centres of learning—Takshashila and Nalanda and other hallowed institutions—with the best tradition of modern universities of the West.’ And in this he was remarkably successful.

== The Tradition of Music ==

In the words of Swami Vivekananda, ‘Music is the highest art and, to those who understand, is the highest worship.’ Banaras has its own rich and unique history and tradition of music. Shiva is the presiding deity of Varanasi; and he is the master of dance and music. According to legend, apsaras, gandharvas, and kinnaras have lived in Varanasi and contributed to its rich musical tradition.

The Buddhist Jatakas have many examples of highly talented courtesans with special talent in music and the arts. This tradition of music continued right down to the modern-day ''kathaks'' (hereditary musicians) and ''tawaifs'' (courtesans). The medieval Bhakti movement contributed greatly to the development and popular dissemination of religious singing and music. The bhajans of the medieval saints remain immensely popular.

(The Banarasi culture held a special meaning, especially for those who were nurtured by it. It symbolized a way of life,
characterized by the twin features of ''mauj'' [enjoyment, conviviality, festivity] and ''masti'' [contentment, serenity,
buoyancy, heartiness, and even recklessness]. … There was yet a third aspect that had a balancing effect on this mauj and
masti that we shall call ''anasakti'', or a detached outlook. Thus, while sipping honey from the flower of the jovial and ever-
festive City, it was not unusual for Banarasis to withdraw from their gay environs and become otherworldly. In fact, this
other-worldliness is so strong, so palpable, so nearly tangible in the ethos of the City, that it may have been almost
impossible for Banarasis to remain insensitive to this underlying spirit of the place, and consequently, get lost in worldly
enjoyments.
—''Varanasi at the Crossroads, 718–9."

Many reputed ''gharanas'' or schools of music developed in Banaras over the last few centuries. These included the Senia (from the lineage of the illustrious Tansen) and Mishra (Prasaddhu-Manohar) ''gharanas'' in vocal music, Ramsahay ''gharana'' in tabla, Badal Mishra ''gharana'' in sarangi, and the ''gharanas'' of Mian Vilatu and Nandalal in shahnai. The nawabs of Awadh, the rajas of Kashi, and many other rajas and nobles who settled down in Kashi patronized music and the arts. Many musical styles— ''Dhrupad, Khayal, Dhamar, Dadra, Hori'', and ''Kajri'', among others— flourished in the rich environment of Banaras.

[[image:Kathiya_Baba_Ashrama.jpg|thumb|Traditional scriptural study at Kathiya Baba Ashrama]]
Banaras has produced a galaxy of great musicians who are revered as legends in their own right. Ustad Bismillah Khan, Pandit Kishan Maharaj, and Girija Devi are three famous names of recent times.

[[image:Ustad_Bismillah_Khan.jpg|thumb|Ustad Bismillah Khan]]
'''Qamaruddin''', famous as '''Bismillah Khan''' (1916–2006), spent his childhood in Varanasi, where his uncle was the official shahnai player in the Vishwanatha temple. He not only introduced the shahnai to the concert stage with his recital at the All India Music Conference at Calcutta in 1937, but also single-handedly took it to world renown. He received honorary doctorates from Banaras Hindu University and Vishwa Bharati University and in 2001 became only the third classical musician to be awarded the Bharat Ratna, the highest civilian honour in India. Despite receiving such acclaim, he always remained his simple self. He believed that ‘musicians are supposed to be heard not seen’. In his last days he turned down requests from the central and state governments for treatment elsewhere, as he would not leave his favourite Banaras.

'''Padma Vibhushan Pandit Kishan Maharaj (b.1923)''' is one of the most renowned, respected, and admired tabla players of our times. Trained by his father, Pandit Hari Maharaj, and his uncle, the famous Pandit Kanthe Maharaj, he has dominated the world of Indian classical percussion in a career spanning more than fifty years, evolving his own style with its highly skilled ''layakari'' (perfect timing). He has been a versatile accompanist to a variety of genres of classical music and dance. He is also known for his talent for improvisation during performances, introducing the most complex ''tālas'' (beats) with odd numbers of ''matras'' (notes).

'''Girija Devi (b.1929)''' was born in a music-loving family of Varanasi and was initiated into music at the tender age of five. Known as the leading exponent of the Banaras ''gharana'' of ''thumri'', Girija Devi has an amazing proficiency in a wide range of Hindustani vocal music: ''khayal, thumri, dadra, tappa, kajri, hori, chaiti'', and ''bhajan''. A recipient of the Padmabhushan and Sangeet Natak Akademi awards, her care for students is reflected in her successful career as a guru for over a decade at the ITC Sangeet Research Academy, Kolkata.

Swami Vivekananda once said, ‘Art, science, and religion are but three different ways of expressing a single truth.’ The saints, sages, and savants of Varanasi verily express that single truth in their own inimitable style. The resultant melody is vibrant Varanasi, the city of Shiva.

== Varanasi: The Home of Ramakrishna Mission Home of Service ==

Varanasi holds a unique place in the Indian religious consciousness. In the Sanatana Dharma, all principles and practices which lead the human soul from its predominantly animal consciousness through human consciousness to divine consciousness have been accepted as valid and true. However, from time to time great saints, sages, and savants have come to propagate ''yuga dharma''—that particular part of philosophy and practice especially conducive to spiritual growth in a particular time. Varanasi is the crucible in which such teachings must be tried and tested before they can be accepted by the world at large. This is an age-old tradition, known since the days of Maharshi Veda Vyasa and Bhagavan Buddha, who promulgated Vedanta and Buddhism from here, and continued in medieval times by Shankaracharya, Ramanujacharya, and Vallabhacharya, who carried out philosophical disputations in Varanasi, establishing as valid their points of view, and writing their treatises. In modern times too, Swami Dayananda Saraswati and others did the same in this city of Varanasi. The Ramakrishna movement is no exception, and that the Ramakrishna Mission Home of Service—which has played a pioneering role in working out the spirit of this movement—has its home in Varanasi is no accident.

== Origin of the Philosophy of Service ==

But to begin from the beginning, let us narrate a very pertinent incident from the life of Sri Ramakrishna. At the time of his pilgrimage to Kashi with Mathur Babu, when passing through a village near Vaidyanath, Sri Ramakrishna was struck by the poverty and misery of the villagers. He told Mathur, ‘You are but a manager of the Mother’s estate. Give these people sufficient oil to cool their heads and each a piece of cloth to wear and feed them to their fill once.’ At first Mathur was a little hesitant and said, ‘Father, the pilgrimage will require much money, and the poor are too many. I may later be in want of money if I begin to do all that. What do you advise under these circumstances?’ To this the all-knowing and all-loving Master replied, ‘You rascal, I will not go to your Kashi. I will remain here with them; they have none to call their own; I will not leave them behind and go.’ True to his words, he went and sat in their midst. Mathur relented; he ordered cloth from Calcutta and did as the Master bade him. Beside himself with joy to see the villagers happy, the Master bade goodbye to them and gladly resumed his journey to Kashi with Mathur. In this way Sri Ramakrishna corroborated and reiterated the teachings of the Bhagavata:
[[image:Lakshmi_Nivas.jpg|thumb|Lakshmi Nivas:Holy Mother stayed here from 5 November 1912 to 16 January 1913]]

यो मां सर्वेषु भूतेषु संतमत्मनमिश्वरं ।

हित्वार्चं भजते मौदयान्द्रस्मन्येव जुहोति स: ॥

If one disregards Me present in all as their soul and Lord but ignorantly offers worship only to images, such worship is as ineffective as sacrificial offerings made in ashes.

अथ मां सर्वभूतेषु भूतात्मानं कृतालयं ।

अर्हयेद्यानमानाभ्यं मैत्रयाभिन्नेन चक्षुषा ॥

Therefore, (overcoming the separativeness of a self-centred life) one should worship all beings with gifts, honour, and love, recognizing that such service is really being rendered to Me who resides in all beings as their innermost soul.

True to this spirit of worship of God in human beings, Sri Ramakrishna, like a ''kalpataru'' or wish-fulfilling tree, got Mathur to fulfil the needs of those who came to him!

On his visit to Varanasi, Sri Ramakrishna discovered the ‘how’ of the age-old Hindu belief that death in Varanasi gives liberation. The pilgrims took a boat ride on the Ganga. As the boat neared the Manikarnika Ghat, Sri Ramakrishna went into samadhi and saw Lord Vishwanatha himself whispering the supreme ''taraka mantra'' in the ear of the jivas from one side of the funeral pyre, and the Mother of the Universe removing the bondages of the soul and freeing it from the cycle of transmigratory existence from the other side. In modern times, the discovery of the ‘how’ of things has been the pursuit of science—and Sri Ramakrishna was a spiritual scientist without parallel.

Though not much is known of Sri Ramakrishna’s first visit to Varanasi, the year of his visit is very significant: it was in 1863, the year in which Biley—Vireshwara, Narendra—the Shiva-avatara Swami Vivekananda was born! Sri Ramakrishna himself narrated that he had brought Naren from the realm beyond the junction of the divisible and indivisible. Both he and Swami Vivekananda were born from that Indivisible Spirit for the good of the world in this age—one a form without a voice, the other a voice without a form! Again, Swami Vivekananda’s mother Bhuvaneshwari Devi propitiated Vireshwara Shiva in Varanasi for a son, through an aunt. Many were her prayers and fasts … and then she was blessed with the vision of Lord Shiva, rousing himself from meditation and taking the form of a male child who was to be born to her.

== Swami Vivekananda and Varanasi ==

Swami Vivekananda had a deep and ardent devotion to Vishwanatha and to Varanasi, which is revealed in his numerous utterances and writings on as well as his few visits to Varanasi. Swamiji’s visits to Varanasi are particularly memorable. Here occurred that famous incident, between Sankata Mochana and Durga Kunda: Swamiji was being chased by a group of monkeys, but was unable to escape from them, when an old monk called out to him, ‘Face the brutes!’ Swamiji did just that, and the monkeys beat a hasty retreat, revealing to him the life-long lesson of boldly facing the brute. It was to Sri Pramadadas Mitra, the reputed scholar of Kashi, that Swamiji looked for answers to various scriptural questions during his Baranagar monastery days in the 1880s. He also shared with him his Master’s teachings and hoped that Pramadadas Babu would help him acquire funds for his Master’s memorial in Bengal. Unfortunately, Pramadadas Babu did not approve of Swamiji’s efforts. Subsequently, on his penultimate visit to Varanasi in 1890, Swamiji famously declared, ‘I am now leaving Kashi, and shall not return until I have burst on society like a bomb-shell; and it will follow me like a dog.’

Swamiji last visited Varanasi in 1902, after his second visit to the West. In that second visit to the West, Swamiji—the voice without a form—gave his message with no holds barred: a message of the glory of the Spirit! Human glory! ‘Tomorrow night I shall lecture on “The Mind: Its Powers and Possibilities”,’ he would announce, ‘Come to hear me. I have something to say to you, I shall do a little bomb-throwing. … Come on! It will do you good.’ And what bombshells: ‘You are the Personal God. Just now I am worshipping you. This is the greatest prayer. Worship the whole world in that sense—by serving it.’ While Swamiji was delivering his uncompromising message in the West, a group of youngsters inspired by his poem ‘To a Friend’ started the Poor Men’s Relief Association—a medical institution to serve the sick and the afflicted, especially the socio-economically disadvantaged—in Varanasi.

When Swamiji visited Varanasi in 1902, he was very pleased to see that these youngsters, inspired by his life and message, had started serving the sick in the true spirit, in right earnest. However, when he heard the name they had given their association—Poor Men’s Relief Association—he told them, ‘Let service and not compassion be your guiding principle. Transform your work into worship by looking upon all beings as manifestations of the Divine. No one but God can relieve the miseries of jivas. Who are you to conduct poor men’s relief ? … Name your organization The Home of Service—Sevashrama.’ In doing so, Swamiji was reiterating his Master’s words: ‘Who are you to show compassion? No, it cannot be. Not compassion for others, but rather the service of man, recognizing him to be a veritable manifestation of God.’ Later, when the institution became affiliated with the Ramakrishna Mission it came to be called the Ramakrishna Mission Home of Service. In renaming this institution—which enshrined his message—
Swamiji clearly enunciated his philosophy and ethos.

== Sri Sarada Devi ==

[[image:RMH.jpg|thumb|Ramakrishna Mission Home of Service, Varanasi, in 1936]]
The final stamp of approval on this legacy of Ramakrishna-Vivekananda, on this ''yuga dharma'', came as usual from Holy Mother Sri Sarada Devi. Holy Mother visited Varanasi thrice. She visited first in September 1886, on her way to Vrindavan, like any other Hindu widow of her time, to assuage her grief at her separation from Sri Ramakrishna. One day, during the evening services of Vishwanatha, ‘her spiritual fervour was so highly kindled that unconscious what she was doing she walked to her dwelling place with unusually heavy steps. Questioned about it she exclaimed, “The Master had led me by hand from the temple.”’ Some devotees believe that during her second visit in 1895, she experienced first-hand that Sri Ramakrishna was none other than Baba Vishwanatha.

Holy Mother last visited Varanasi in November 1912, staying two months. Swami Gambhirananda describes that visit:
The very next day Mother went to visit the deities Vishwanatha and Annapurna in a palanquin. On the day following the worship of Kali (i.e., November 9), she visited the Ramakrishna Mission Home of Service, where Swamis Brahmananda, Shivananda, and Turiyananda, Charu Babu (Swami Shubhananda), Dr Kanjilal, and others were present. Kedar-baba (Swami Achalananda) accompanied her palanquin and showed her round. When she had seen every department, she sat down and in the course of a conversation with Kedar-baba expressed great delight at all the houses, gardens, etc., she had seen, and the good management she had noticed. She further added, ‘The Master himself is present here and Mother Lakshmi is here in all her majesty.’ Then she wanted to know how the institution took shape and with whom the idea first originated. After hearing and seeing all about the institution she remarked, ‘The place is so fine that I feel like staying on in Banaras.’ Soon after she had reached her residence, somebody came with a ten-rupee note and handing it over to the head said, ‘Kindly accept these ten rupees as the Mother’s donation to the Sevashrama.’ That note is still treasured there as an invaluable asset.
That day a devotee asked the Mother at her residence, ‘Mother, how did you find the Sevashrama?’ She said calmly, ‘I saw the Master himself present there, and that is why this work goes on here. These are all his work.’

Armed with this view of the Mother, Swami Brahmananda, when he saw Master Mahashaya (M, the recorder of the ''Gospel of Sri Ramakrishna'') coming that way, sent some devotees and brahmacharins to ask him, ‘Mother has said that the Sevashrama is the Master’s work, and that the Master himself is present there. Now what do you say to that?’ Though Master Mahashaya was known to believe that it was contrary to Sri Ramakrishna’s teachings to engage in social service without first realizing God through spiritual disciplines like japa, meditation, and austerity, he smiled broadly and said, ‘It can no longer be denied.’ The ''sangha janani''—the Mother of the sangha, of the whole Ramakrishna movement— thus put her stamp of authority on this ''yuga dharma''.

== Swami Brahmananda ==

Swami Brahmananda, who took over the reins of the Ramakrishna Mission from Swamiji, also loved Varanasi and the Home of Service and took personal interest in the construction of permanent buildings at the sevashrama. This work of construction was entrusted by him to another direct disciple of Sri Ramakrishna, Swami Vijnanananda.

An incident revealing his wonderful leadership may be mentioned here. At one time, there was some trouble among the monastic brothers of the two ashramas in Varanasi, especially in the sevashrama. Swami Saradananda, the general secretary of the Order, after personally investigating the matter, wrote to Swami Brahmananda that some of those boys were unfit for monastic life and ought to be expelled. But Swami Brahmananda forbade any action, and himself came to the sevashrama to set things right. How did he do it? Simply by requesting all to meditate in his presence and instructing them without making any distinction between the good and the bad. He resolved the entire issue by raising the consciousness of all concerned to a higher level!

As president of the Ramakrishna Math and Ramakrishna Mission, he too unambiguously declared, like Sri Ramakrishna and Swamiji: ‘Those of you who are working in the hospital will also be able to reach the goal and realize the Reality through the practice of pure, unselfish work.’ Again:

True it is that in all creatures He dwells, but His greater manifestation is in man. That is why Swamiji encouraged us to serve mankind. One must have faith that the one Brahman is in man, woman, and all creatures; and with that faith one must learn to serve Shiva in the form of jiva. As you practise this, suddenly one day the veil will be lifted and you will see that it is He who has become everything—man and universe. … You are that all-pervading Shiva; and thus can serve Shiva in the form of jiva.

It was also at the Varanasi Sevashrama that Swami Brahmananda recognized Sri Mahavira Hanuman attending the Rama-nama sankirtana.

== Varanasi: City of Seva ==

[[image:Varanasi_Early_Twentieth_Century.jpg|thumb|Varanasi, early twentieth century]]
Varanasi has the unique distinction—Kolkata aside—of having been visited and sanctified by Sri Ramakrishna, Holy Mother, Swamiji, and all other direct disciples of Sri Ramakrishna except Swami Ramakrishnananda. Swami Turiyananda, the great Vedantic monk and brother disciple of Swami Vivekananda, stayed at the sevashrama for the last three and a half years of his life, from February 1919, and guided the monastic brothers in their spiritual path through scriptural classes and satsanga.
One day he proclaimed: ‘Remember that in this Sevashrama it is not hospital work, nursing a few patients, that is done; it is worship—worship of the Lord Himself. Have faith in the words of Swamiji who was like Shiva. Let your work in the Sevashrama be worship, and you will attain liberation. … Work done in the spirit of worship is the only suitable spiritual discipline for this age.’ He used to say, ‘If even for three days you serve in the right spirit, that is to say, as worship, you will have the vision of the Lord. Those who work in this manner realize this truth in the depths of their being.’

[[image:BK_Paul.jpg|thumb|B K Paul Memorial Operation Theatre]]
[[image:Swami_Shubhananda.jpg|thumb|Swami Shubhananda]]

Every year, on the Sunday following Swami Vivekananda’s birthday celebrations, Narayana puja and seva are conducted. In the morning, even as the worship of Sri Ramakrishna, Sri Sarada Devi, and Swami Vivekananda is performed in the temple, the monks and brahmacharins of the sevashrama go round the hospital and worship each and every patient with offerings of flowers, incense, and fruits and sweets, as also by touching their feet, amidst the chanting of Purusha Sukta, Narayana Sukta, and Vedic shanti mantras, to keep the ideal of service as worship burning bright in their minds.

[[image:Hospital_Building.jpg|thumb|The new hospital building]]
The Ramakrishna Mission Home of Service, Varanasi, truly embodies the spirit of the present age, the spirit of Ramakrishna-Sarada-Vivekananda and the spirit of this ancient land of Shiva. Vyasadeva has beautifully captured this spirit in his ‘Shiva Manasa Puja’:

आत्मा त्वं गिरिजा मतिहि सहचरा: प्राण: शरीरं गृहं

पूजा ते विषयोपभोगरचन निद्रा समधिस्थिथि: ।

संचार: पदयो: प्रदक्षिनविधि: स्तोत्राणि सर्वा गिरो

यध्यत्कर्म करोमि तन्त्दखिलं शम्भो तवाराधनम् ॥

O Shiva, you are my soul, the Divine Mother my intellect; my pranas are your attendants, my body your temple,

its sense-enjoyments your puja, and my sleep, samadhi.

Wherever I walk, I am circumambulating you; all my words are hymns to your glory,

and whatever work I perform is your worship, O Shambhu!

The Ramakrishna Mission Home of Service, which serves Hindus, Muslims, Christians, Buddhists, agnostics, and atheists alike, is a living embodiment of the following verses of Swamiji’s poem—the poem which inspired the founding of the sevashrama and which vividly captures the spirit of the Ramakrishna movement:

From highest Brahman to the yonder worm,
And to the very minutest atom,
Everywhere is the same God, the All-Love;
Friend, offer mind, soul, body, at their feet.
These are His manifold forms before thee,
Rejecting them, where seekest thou for God?
Who loves all beings without distinction,
He indeed is worshipping best his God.

* Originally published as "Varanasi" by Prabhuddha Bharata [https://advaitaashrama.org/pb_archive/2007/PB_2007_October.pdf October 2007], [https://advaitaashrama.org/pb_archive/2007/PB_2007_November.pdf November 2007] and [https://advaitaashrama.org/pb_archive/2007/PB_2007_December.pdf December 2007] editions. Reprinted with permission.

Kanchipuram

2010-06-06T09:46:05Z

K. Ravindranath:

By Dr Prema Nandakumar

Pushpeshu jati, purusheshu vishnu;
Narishu rambha, nagareshu kanchi.

This jingle is attributed to Kalidasa. He was certainly a connoisseur of places and might have seen enough of Kanchipuram more than a millennium ago to come up with this crisp verse. Certainly, for over two thousand years, Kanchipuram has been laying down layers of the finest in culture. Even though these earlier days have largely to be surmised, there is plenty of historical documentation about the Pallavas and Cholas, who had a big hand in building the city and its environs.

The original name of Kanchipuram was Kachchi Managar. There have been different interpretations of the word ''kanchi''. The Sanskrit term denotes a woman’s waist-girdle. This place was also known as Tondaimandalam in ancient Sangam literature in which it is referred to as a forest of kanchi (river portia) trees. The city itself is referred to as Kachchi in works like ''Manimekalai''. It is located on the Palar River. The famous Sangam classic ''Perumbanatruppadai'' describes Kanchi and its king, Ilamtiraiyan:

<blockquote><poem>
Flanked by its belt of defensive jungle is that city
Whose doors are never closed to those who seek the prize.
Lovely like the pericarp of the many-petalled lotus /
The navel of the dark-hued Lord …<ref>"Perumbanatruppadai," Translated by N Raghunathan.</ref>
</poem></blockquote>

== Buddha Kanchi ==
Kanchipuram’s socio-religious presence is marked by a four-fold glory. Even today, people are drawn not to a monolith but a four-in-one city: the Buddha Kanchi, the Jina Kanchi, the Shiva Kanchi, and the Vishnu Kanchi. All of them have histories stretching back at least a couple of millennia with the Buddhist faith being the earliest to have laid foundations at Kanchipuram.

According to the Girnar inscription of Emperor Ashoka, it is known that by the third century BCE Buddhism had registered its presence widely in South India.<ref>‘…within Beloved-of-the-Gods King Piyadasi’s domain, and among the people beyond the borders the Cholas, the Pandyas, the Satiyaputras, the Keralaputras, as far as Tamraparni and where the Greekking Antiochos rules, and among the kings who are neighbors of Antiochos, everywhere has Beloved of-the-Gods King Piyadasi made provision for two types of medical treatment: medical treatment for humans and medical treatment for animals. (English rendering by Ven. S Dhammika.)</ref>Some of the Tamil Sangam works like ''Natrinai'' and ''Madurai-k-kanji'' have references to Buddhism. For instance, the latter describes women going to a Buddhist vihara for worship:

<blockquote><poem>
Young women held fast to themselves
Little children ornamented with jewels
So they would not be lost; kissing them
And holding firmly their hands
That appeared like pollen-rich lotus buds,
They stood there, carrying flowers for worship,
And scented smoke, singing the glory
Of their Lord in that Buddha vihara …<ref>The Tamil term ‘Katavut Palli’ has been explained as a temple to Buddha by scholars.</ref><ref>Madurai-k-kanji, Translated from Tamil by Prema Nandakumar</ref>
</poem></blockquote>

[[image:Buddha_On_Ground.jpg|thumb|Buddha on the School Ground]]
Significant parts of ''Manimekalai'', a Buddhist epic from the later Sangam age, take place in Kanchipuram. Manimekalai is a dancer who becomes a nun. She obtains the Amuda Surabhi (nectar vessel) which produces food without end. This she uses for per-forming charity. In the course of her travels, she is directed by her grandfather Masattuvan to go to Kanchi, as the city had been devastated by a drought. When she goes there, she finds a temple to Buddha at the very centre of the city:

<blockquote><poem>
With her heart full of compassion, the maid
Went around the fort rightwards, and got down
Into the central part of the city.
She prayed at the temple built by the king’s brother
To Buddha, who had sat under the Bodhi tree
Which had golden branches
And fresh green leaves rivaling emerald.
</poem></blockquote>

The king builds a garden in honor of Manimekalai’s coming to help his people. Delighted, Manimekalai makes him build a lotus seat for Buddha. She then places the Amuda Surabhi on the lotus seat and welcomes all living beings to gather to be fed. It is an unforgettable scene in which all the marginalized, the hungry, the defeated, and the maimed come to her for succour:

<blockquote><poem>
Like life-giving sustenance for those who ate,
Like the result of giving alms to ascetics,
Like the yield when the seed is sown with thought
To water, earth, season, and work in the fields,
Like rains that fall to help the earth’s yield,
Was the maid compared and thanked by people
Whose hunger-sickness had been cured by her.
</poem></blockquote>

She then meets her spiritual teacher, Aravana Adikal, who instructs her in the Dharma. Her mind illumined, Manimekalai dedicates herself to the ideal life that leads to salvation.

[[image:Buddhar_Alayam.jpg|thumb|Koneripakkam:Buddhar Alayam]]
Is this all an epic tale and no more? One realizes that the very ancient Buddhist past is very much present in today’s Kanchipuram when the author goes to Arappanancheri, where the sage Aravana is said to have spent the latter part of his life. Today the place is known as Arapperumchelvi Gramam (the place of the Maid of Great Charity). The author goes into the local temple, which had a huge pipal tree in front. With-in was the goddess Paranjoti Amman. The striking thing about this temple is a plaque proclaiming the following statement in Tamil: ‘From time immemorial this village has not allowed sacrifice of any life.’ This plaque bears witness to the area having been Buddhist from early times.

[[image:Bodhidharma.jpg|thumb|Bodhidharma brought Buddha’s teachings to China; here he graces the Koneripakkam temple]]
History records the names of several great Buddhists of Kanchipuram who spread the Dharma all over the world. Buddhaghosha (fifth century CE), along with the monks Sumati and Jotipala, lived in Kanchi. Aniruddha, author of ''Abhidhammatthasangaha'', lived in the Mulasoma Vihara. A Pallava king named Buddhavarman apparently built many viharas. Even today one can walk across a Buddheri street. But one has to peer into unlit corners for vestiges of the Buddhist past. A Buddhist statue on a pillar at the Kachabeshwara temple, a piece of what once was a stupa found in a field … and the mind races back to the brilliances that had once adorned Kanchi.

Acharya Dharmapala, who entered the Sangha on the eve of his wedding, lived in Patatitta Vihara built by Ashoka near Kanchipuram. He wrote Pali commentaries for some of the Tripitaka texts. He taught at Nalanda University but died young at the age of thirty-two. Ashoka’s closeness to Kanchi has been recorded by Hsuan Tsang, who says that a Buddhist stupa built by him was still standing four centuries later. Deepankara Tero, author of the Pali work ''Bhujja Madhu'', lived in Balatissa Vihara in Kanchi. Ananda Tero of Kanchi was taken by Saddhamma Jotipala to Burma to spread Buddhism there. There are other revered names associated with Buddha Kanchi: Venudasa, Vajrabodhi, Sariputra … And among the most famous Buddhists of ancient Kanchi are Dignaga and Bodhidharma. Hsuan Tsang, who visited Kanchipuram in the seventh century CE, records that there were one hundred monasteries with ten thousand monks belonging to Teravada Buddhism following Dignaga’s yoga. Dignaga (fifth century CE) was a native of Kanchi and was born in Simhavaktra (Seeyaman-galam). His ''Hetuchakra'' (Wheel of Reason) inaugurated Buddhist philosophical logic. Bodhidharma (fifth century CE) was a Brahmana prince of Kanchi who became a Buddhist and was trained in the techniques of meditation by Prajnatara. He went to China during the Sung rule. Emperor Wu was not pleased with the manner in which Bodhidharma couched his answers. It is said the Indian monk shut himself up in a Shaolin temple in Honan Province and emerged after nine years with two books. One of them was the famous ''I Chin Ching''.

Bodhidharma is considered the founding father of Zen Buddhism. Inspired by the Vajramushti technique prevalent in India, he taught martial arts to the Chinese (well known as the Shaolin martial arts) and also how to control the breath to strengthen the blood and immune system, energize the brain, and attain enlightenment. He is today revered by various names like Bodhitara, Ta-mo, and Bodhi Daruma. He passed away around 534 CE.

[[image:Bodhi_Nagar1.jpg | thumb|Bodhi Nagar—‘Never for himself: for the good of the world’]]
One has to mention in the same breath that by the eleventh century Buddhism was very much on the wane in Tamil land. Sectarian disputes and the decadence of Buddhist institutions brought this chapter to a close. As early as the seventh century, the Pallava king Mahendravarman had issued a warning to the monks of Kanchipuram in his farce ''Matta-vilasa-prahasana'' (Tale of the Drunken Monks). A religion that had established monasteries all over Tamil Nadu, made an undeniably strong presence in the neighbouring Andhra country, and initiated a way of life that had percolated to the tiniest villages in the countryside was reduced to a distant memory with dizzying speed.

[[image:Bodhi_Nagar2.jpg | thumb|Bodhi Nagar]]
So it was not surprising that no one in Kanchipuram could show around Buddha Kanchi, because there is none present. Other layers have been spread out over what was once a vast complex of Buddhism and Buddhist art and architecture. Wandering in search of artefacts, though, one was not disappointed. Some of the goddess sculptures in the Kamakshi temple have been identified as that of the Buddhist Tara Devi, and it was in this temple that a Buddhist stupa be-longing to the second century BCE was discovered. T A Gopinatha Rao found a standing Buddha sculpture in the innermost corridor of the Kamakshi temple in 1915. This seems to have been shifted to the Madras Archaeological Museum. A Buddha sculpture unearthed near the Ekambreshwara temple is now kept in the adjacent police station. Flower and incense offerings indicate that the statue is held in veneration. It was also cute to find that a devotee had applied an artistic circlet of sandal paste with kunkum to the Buddha’s forehead.

Even today, there are quite a few discoveries at hand to keep one inspired. In the Subarea Mudaliyar School Ground there is a massive Buddha seated in meditation, presiding over a class held in the open by the teacher, Hari Kumar. You could not find a nobler scene for your camera! Buddhism has had a revival in these parts thanks to social reformer Ayoddhi Dasar, who sought to give voice to the underprivileged Dalits. On a visit to Koneripakkam to see a newly built shrine, Kannivel a guide showed the author around. The place was neat, and there were ''kolam'' decorations in front. At the entrance to the modest structure is a Buddha figure on a broken pillar. He was told it had been retrieved from a nearby place that was being dug up to build a Muslim dargah. The sanctum had a Buddha figure along with a bell, a cup of water, and a plate for ritual worship. Bodhidharma’s portrait, gifted by a devout Korean, looked down benevolently from the wall. A Buddha head in a glass case conveyed an amazing sense of peace. It had been found under an uprooted pipal tree. Kannivel told me that the entire space was once definitely a Buddhist monastery.

‘Should it always be “once upon a time” for Buddha in Kanchi?’ the author muses. Immediately the guide assured that there is a shining future for Buddhism and asked if I would go over with him to Bodhi Nagar. Near Vaiyavur Road and across a bit of slushy ground, is a very clean and peaceful place. Entering it I bowed at the flagstaff and walked a few steps to the Bodhi tree surrounded by a wall built in the Sanchi style. Founded by Ven. Divyananda, the Mahamuni Society is trying to return to the monastic style popularized by the Buddhists two millennia ago. In the shrine there is a statue of Buddha sculpted in Mahabalipuram. The tranquil atmosphere took me back to the epic ''Manimekalai'', and I walked out reciting Sutamati’s prayer—

<blockquote><poem>
Our Lord, self-taught, the essence of faultless things,
Incarnating in nature’s several forms,
Always living for the good of others,
Never for himself: for the good of the world
His penance, with the idea of Dharma.
Hence his rolling the wheel of Dharma rays.
He won victory over desire; Buddha’s feet
Shall I praise, my tongue shall naught else do.
</poem></blockquote>

== Jina Kanchi ==
If the Buddha Kanchi of yore cannot be pinpointed today, Jina Kanchi, fortunately, has to itself an allowed area where two temples have stood witness to the rise and fall of dynasties for over a millennium. Jainism seems to have come to Tamil Nadu even earlier than Buddhism because it is associated with Chandragupta Maurya’s retirement in Karnataka. It is widely believed that when his kingdom was devastated by a famine, Chandragupta renounced his throne on the advice of his spiritual preceptor Bhadrabahu and travelled to South India. Settling down in Karnataka, he is said to have taken to ''sallekhana'' (the Jain ascetic tradition of giving up one’s body by renouncing movement and eating). The work of master and disciple in furthering the cause of Jainism in South India must have been very deep indeed. The place where they stayed became the Shravanabelagola of later times with the erection of the magnificent monolithic statue of Gomateshwara. Jainism spread well and seems to have entered Kanchipuram not long after Chandragupta’s passing.

Though the age of Jainism in Tamil Nadu has not been exactly determined, it does have a very ancient presence stretching back to the Sangam era. The monks belonging to the religion were known as ''samanas'' (from Sanskrit ''shramana'') and the householders as ''savakas'' (or ''shravakas''). Because the monks were an obvious visible presence as teachers, the pathway came to be known as the Samana religion. The monasteries were known as Samana palli (like the Buddhist vihara) and functioned as organized educational institutions. Kanchipuram, being the capital of the Tondaimandalam area (which once included Chennai, Tiruvellore, Vellore, and Tiruvannamalai) was not insulated from this sweep of Jainism all through South India.

The Pallava king Simhavishnu, who ruled from Kanchipuram, was a follower of Vaishnavism, but he did not look down upon other religions. His son Mahendravarman (seventh century) was drawn to Jainism early in life. The wonderful cave temple at Sittannavasal is attributed to his munificence. Located in the Pudukottai area, the cave has frescoes on Jain spiritual themes like the Samavasarana (divine pavilion) Lake. It is significant that Mahendravarman’s drama, ''Matta-vilasa-prahasana'', which is a satire on the ways of the Pashupatas, the Kapalikas, and the Buddhists, avoids any criticism of Vaishnavism, popular Shaivism, or Jainism.

Literature has kept alive some of Jainism’s old connections with Tondaimandalam. The author of the Jain epic ''Chulamani'' is associated with Karvetinagar near Tirupati. At a distance of ten miles from Kanchipuram is Tirupanambur, where the Jain acharya Akalanka lived. He is said to have defeated the Buddhists in a debate in the court of King Himasitala of Kanchi. The eminent Jain commentator Suranandi lived in Tiruparuttikunram. ''Merumandara Puranam'' is the legend of the two assistants of the thirteenth Tirthankara, Vimalanatha. This narrative in thirteen cantos about the princes Meru and Mandara is attributed to Mallisena Vamana (fourteenth century) who lived in Kanchipuram. The impressions of his feet and those of his disciple Pushpasena are honoured in the Chandraprabha temple atTiruparuttikunram in Kanchi. Mallisena’s Purana upholds Jain thought with crystalline clarity:

<blockquote><poem>
If you wish to act, perform dharma.
If you wish to renounce, renounce anger.
If you wish to see, look at knowledge.
If you wish to guard, protect your vows.
</poem></blockquote>

Curiously, the work firmly states that women cannot achieve realization:

<blockquote><poem>
Those placed in the four states of being due to fate
By their inner aspiration are born as humans,
And perform charity, worship, and tapasya,
And get beyond the states to moksha: not so women.
</poem></blockquote>

Mallisena has also written a commentary for the epic ''Nilakesi''. Udisi Devar, who authored ''Tirukkalampakam'' and ''Arungalacheppu'', was the head of Arpakai village in Tondaimandalam. His ''Tirukkalampakam'' is an amazing attempt to take in the whole of the religious symbolism of his time and make them all represent the Arhat. He is Shiva, Brahma, Muruga, the lord who rested in the midst of the milky ocean, and even Shakti. Towards the end, Udisi Devar speaks in a voice which must have gone down well with the devotees, for already the Jain pantheon had a vast array of gods and goddesses:

<blockquote><poem>
Praising the beloved of the Lord,
The mother who gave birth to this earth,
Eternal Virgin, the goddess who sustained
Dharma; from her have blossomed forth
The six religions; the Self-create;
The one lamp illumining creation;
One who is an enemy to the disease of our birth;
The divine foster-mother who gives unstintingly
Her compassion to all living beings;
The chaste one who speaks in sublime accents;
A creeper of ananda; a flame of wisdom;
The medicine that cures the fever of the senses.
Thus do the tapasvins praise, when they worship
The auspicious feet of the Arhat.
</poem></blockquote>

No wonder one who is used to worshipping in Hindu temples does not feel a stranger in ''jinalayas''. Unlike Buddhism, the Jain religion seems to have given a very important place to temple worship. Jain temples, and the rituals held therein, are described in epics like ''Jivaka Chintamani'' and ''Chulamani''. While the former has detailed descriptions of temples to the Arhat and even of a Kama Kottam (temple to Kama), the latter has a ‘Canto on Renunciation’ in which King Bayapati conducts worship in a Jina temple with scent, flowers, and water. He circumambulates the sanctum and recites a ten-verse prayer to the Arhat. While Vedic religion gave importance to yajna, and Buddhism frowned upon image worship, Jainism was for the consecration of holy images from the very beginning. Stone and metal were the favourite media; the paintbrush was also wielded with finesse. The first in the field, the Jains mastered sculpture and metal casting over two millennia ago, making the ''jinalayas'' treasure troves of devotional art.

[[image:Samavasarana.jpg|thumb|A Samavasarana]]
Such temples were obviously innumerable in the first millennium. Today one goes in search of them with almost a hopeful hopelessness clutching one’s heart, remembering the poem by Sister Nivedita:

<blockquote><poem>
We hear them, O Mother!
Thy footfalls,
Soft, soft, through the ages
Touching earth here and there,
And the lotuses left on Thy footprints
Are cities historic,
Ancient scriptures and poems and temples,
Noble strivings, stern struggles for Right.
</poem></blockquote>

Two temples of Jain Tirthankaras built in the ninth century in Tiruparuttikunram, near Kanchipuram are still intact. One is a temple to the eighth Tirthankara Chandraprabha, and it is believed that Nandivarman Pallavamalla, king of Kanchipuram, built it. The adjacent Trailokyanatha temple has Mahavira as the main deity in the sanctum. Apparently the land was gifted to the Jain community by King Simhavishnu and his queen as early as the fifth century. Much later, Parakesarivarman Chola and Kulo thunga Chola granted whole villages to Jina Kanchi. Emperor Krishnadeva Raya, who did much to save Hinduism from Islamic depredations, also contributed handsomely to the temple to help restoration works in the seventeenth century.

[[image:Sri_Trailokyanatha.jpg|thumb|Sri Trailokyanatha]]
As the author gets to see these temples, he finds it hard to believe that they are under the control of the Archaeological
Survey of India. An ancient lady, Padma, seems to be the caretaker; she willingly opened the main entrance after asking us sternly to deposit our cameras back in our car, while loudly complaining about how difficult it was to keep stray cattle and prowlers from entering the temple and desecrating them. The main door opens to a vast ''parikrama'' (circumambulatory corridor) and immediately before is a ''dhvajastambha'' (flagstaff ) and ''balipitha'' (sacrificial altar). Going up a few steps is the Sangita Mandapam (musical hall) established by Irusappar, a Jain monk. The ceiling, held up by four rows of pillars, is full of paintings. Craning one's neck upwards, one can gaze at an astonishing sight. Though many of the paintings are faded, there are still plenty of them that create an illusion of movement: so many young women walking, young men carrying pitchers, elephants, horses. There is the painting of a Samavasarana lake in which the devout bathe before proceeding to listen to the wise. At the very centre of the huge circular lake, with four stepped pathways converging from the four directions, is the seated figure of the acharya. There are also serial paintings depicting incidents from Mahavira’s life. Some of the paintings seemed to be about the life of Dhivittan depicted in ''Chulamani''. Dhivittan’s life has close resemblance to the saga of Krishna.

Wedged between the mandapam and the sanctum is the strong room where several ancient images of Arhats made of marble or bronze have been kept in safe custody. Some of the images are of gods and yakshis of Jain theology. The temple has huge open spaces, and a shrine nearby has the image of Arhat Pushpadanta installed in its sanctum. Going around the temple, one may well visualize King Bayapati’s reverence as he intoned the ''Chulamani'' prayer:

<blockquote><poem>
You have spread as light, this earth;
The earth is enveloped in your light.
Your reign brings grace to living beings;
Even the world of gods seeks your feet;
You have explained the eternal Truth;
Truth blossomed forth according to your will.
Recognizing the glory of your feet is Truth.
Once this is known, all else becomes clear.
</poem></blockquote>

In this context it would be well to remember Munaipadiyar’s ''Aranericharam'', which has a verse that sought to clear the confusion in the minds of common people regarding various religions, at a time when temple structures were coming up very fast:

<blockquote><poem>
Do not worry that He is this person, or that.
Meditate upon Shiva. The god Shiva
And the Lord with the triple umbrella
Beneath the shade of the Ashoka tree
Are both the same.
</poem></blockquote>

There is then the prayer from ''Tottira Tirattu'' (Anthology of Prayers) dedicated to the Arhat at the Trailokyanatha temple:

<blockquote><poem>
As the immortals ruling over the skies,
As the sub-humans in charge of the netherworlds,
As humans who enter the prison of the womb,
As animals and as ever so many forms
Have I taken birth for a long, long time
And suffered; I have now reached your temple
Auspicious, hoping to be rid of this cycle of birth.
O Mountain of molten gold
At holy Tiruparuttikunram near Kanchi!
</poem></blockquote>

== Shiva Kanchi ==

[[image:Kama_Kodi.jpg|thumb|Kama-kodi, protecting Ekambareshwara from the flood]]
We call the area Shiva Kanchi, of course. But Goddess Kamakshi takes precedence in Kanchipuram! The temple is spread over an area of about five acres; the gleaming golden vimana of her temple attracts one’s attention immediately. Historians say that separate shrines for the goddess who was worshipped as the consort of Ekambareshwara were built only from the twelfth century onwards. The temple of Kamakshi, also known as Kamakottam, obviously began as a Shakta centre (for worship of the Mother Goddess). Archaeological studies however claim a much earlier origin to the temple as one for a Jain Yakshi, when the holy place was known as Vimala Tirupalli.

[[image:Kacchapeshwara_Temple1.jpg|thumb|Kacchapeshwara Temple: detail (with the ecumenical presence of Garuda, Hanuman, and Nandi)]]
The importance of Kamakshi for Shiva Kanchi may be traced to the Puranic narrative which says that she was originally worshipped as the consort of Ekambareshwara, being part of him in the Ardhanarishwara form.<ref> For further information on the subject see R Venkataraman, Devi Kamakshi in Kanchi (Srirangam: Vani Vilas, 1973). </ref> According to the ''Kanchi Purana'', Parvati once covered the eyes of Shiva in Kailasa, thus plunging creation into darkness, and consequently inviting a curse. She expiated her guilt by taking human birth and undertaking tapas, worshipping a linga made of sand. When the nearby river was in food, she embraced the linga to guard it against the rising waters. Hence she is ''kama-kodi'', the loving creeper that has entwined herself round the Lord. In the course of evolution of her worship, the goddess began to be worshipped as the Durga of Kamakottam (the old temple), and later the present temple of Kamakshi was raised on what was apparently a Jain temple dedicated to a Yakshi.

[[image:Kacchapeshwara_Temple2.jpg|thumb|Kacchapeshwara Temple: Nandi Mandapam]]
The glorious city of Kanchi was put to the sword by the Islamic general Malik Kafur in the fourteenth century. Idols were broken down. The Kamakshi temple was one of the major victims. As in other Kanchi temples, worship was stopped in the Kamakshi temple too for several decades, till Kumara Kampana of Vijayanagar drove out the Muslim invaders and restored religious ritual. From then on, the Vijayanagar kings took good care of Kanchi, and Emperor Krishnadeva Raya loved visiting this great city.

The Kamakshi temple today is at the very centre of the city, with the Ekambaranatha temple to the north-west and the Varadaraja temple to the south-east. It is interesting to note that all the major temples in the city are structured to face the prominent temple of Kamakshi with its four spires. The seated Kamakshi is a noble image, and to her front is the Sri Chakra in which the Mother Goddess is said to reside in her subtle form.

[[image:Kacchapeshwara_Temple3.jpg|thumb|Kacchapeshwara Temple:Buddhas in bhumi-sparsha mudra on a column]]
This city is rich in legends. We are told that originally Kamakshi was the fierce form of the supreme Goddess—''ugrasvarupini''. It was Adi Shankara who installed the Sri Chakra, which contained the ferocity of the goddess and transformed her into the calm and beautiful ''brahmasvarupini''.

Kamakshi’s residence in her ''brahma-shakti'' form is in a cave below. She is said to have appeared on earth once to destroy demons, including the notorious Bhandasura. The Tapas Kamakshi (goddess undergoing tapas to expiate the sin of having closed the Lord’s eyes) has also been placed in the sanctum. Coming out of this garbhagriha, on the left is Kamakshi’s attendant Varahi. To her front is the ''santana stambha'' indicating the place where King Dasharatha gained the boon of progeny from Goddess Kamakshi. In the first ''prakara'' (circumambulatory path) is the niche of Dharma Sastha (Ayyappan) with his consorts Purna and Pushkala. Tradition avers that Karikala Chola worshipped this Sastha, who gave him the deadly weapon called Chendu which ensured his victory in the Himalayan regions. Tough it is mistakenly indicated in the niche that Sastha gave a bouquet of flowers (''poo-chendu'') to Karikala Chola, the fact that Sastha is represented with the typical Chendu weapon in his hands provides the right pointer.

[[image:Kacchapeshwara_Temple4.jpg|thumb|Kacchapeshwara Temple:Niches on the outer wall]]
One can never exhaust Shiva Kanchi. There are innumerable temples dedicated to Shiva here, and one can wander into any one of them and remain absorbed in the visuals as well as the devotional fervour evoked by aspirants going there for worship. Since Kamakshi reigns supreme in Kanchi, none of the Shiva temples have a separate shrine for the goddess, though an image is kept for ceremonial (''utsava'') processions. Many of the temples are thought to be several hundred years old. For instance, facing the western gate of the Kamakshi temple, is the Makalishwara temple, said to be the special residence of Rahu and Ketu. A snake called Makala attained mukti by worshipping Shiva in this area, and hence prayers are offered at the foot of the twin trees of neem and pipal, where a Naga has been consecrated.

[[image:Kailasanatha_Temple1.jpg|thumb|Kailasanatha Temple: Shiva and Parvati]]
Going out of the southern gate of the Kamakshi temple, is the celebrated Kacchapeshwara temple. As the presiding deity is mentioned in the seventh century classic ''Dandi Alankara'', the temple is very old. Legend speaks of Mahavishnu in his tortoise form worshipping Shiva at this place. Apart from the sanctity of the temple, what strikes one most is a series of Buddhist figures on the stone pillars of an inner mandapa. It is obvious that these pillars have been taken from a Buddhist vihara. Perhaps the vihara was the original structure and when it came down to make way for a Shiva temple several centuries ago, some of the masonry was reused by the builders.

[[image:Kailasanatha_Temple2.jpg|thumb|Kailasanatha Temple: Nandi]]
There are other Shiva temples like Suragaresha, Siddhishwara, Manikandeshwara, and Ramanatheshwara. The one to Lakulishwara (Dhavaleshwara) is associated with yogis and siddhas. It is quite obvious that from the seventh century onwards, when the Nayanmars went round singing their mellifluous songs on Shiva, there was a tremendous spurt in temple-building activity. Though the corpus of devotional hymnology pertaining to Shiva Kanchi is vast, only five temples have been hailed by the Nayanmars in their hymns. They are Ekambareshwara, Tirumetrali, Onakan-thanthali, Anekathankavatam, and Kachinerikkarai-kadu. Thus Tirunavukkarasar worshipped Ekambareshwara and the goddess Elavarkuzhali with an exquisite decad:

<blockquote><poem>
He is the God of Dissolution; He is the King who smote Death;
He is earth; He became water of the earth; He is wind;
He is fire; He is rumbling thunder and lightning;
His is the glorious, coral-like ruddy body bedaubed
With white ash; on His crest floats the crescent; on His long
Matted hair He sports the Ganga of abundant water;
He is Yekampan of Kacchi girt with beauteous groves;
Behold Him, the one enshrined in my thought! <ref>Translated by T N Ramachandran.</ref>
</poem></blockquote>

Of the two major Shiva temples, Ekamabaranatha’s raja-gopuram, built by Krishnadeva Raya in the sixteenth century, rises to 192 feet. Originally planned and structured by the Pallava kings of Kanchi on a spread of twenty acres, this temple was further embellished by the Cholas and the kings of Vijayanagar. The deity here represents the element earth (''prithvi''). The consecrated tree is mango, and the guide assures me it is 3,500 years old. Why should I disbelieve him? For time stands still in these precincts, though there is a lot of renovation work going on. The famous shrine of Vikatachakra Vinayaka is in the Thousand Pillar Hall, and the pillars stand witness to the mastery of sculpture by the workmen of earlier centuries. Another important landmark is the temple to Subramanian known as Kumarakottam, which has been made famous by Kachiappa Shivachariar—whose epic Kanda Puranam was first recited in the mandapam of this temple.

[[image:Kailasanatha_Temple3.jpg|200px|thumb|Kailasanatha Temple: Kirata and Arjuna]]
The celebrated Kailasanatha temple was built by Rajasimha (Narasimhavarman Pallava II) and his son Mahendra III. If it is exciting to go into the smaller Shiva temples in Kanchi and wander around watching the sculptures and searching for Jain or Buddhist remains of an earlier era, or to keep gazing at the Buddhist figures in meditation on the higher reaches of an outer wall of a temple, it is an experience of a lifetime to enter the Kailasanatha temple at the periphery of the city. The sanctum has a huge linga, symbolizing the Supreme, while on the rear wall one can watch wide-eyed the sumptuous Somaskanda panel. Shiva and Parvati have Subramania between them (on the lap of his mother), with Brahma and Vishnu watching the group in adoration. The outer wall of the sanctum is an amazing panorama of gods and goddesses. In between the two walls is a very narrow passage for ''parikrama''. One has to crawl to enter it and also to come out of it. A few of us who had come to worship were invited by the officiating priest to go in with the tempting words: ‘This is the entry into heaven, the Swarga Vasal, and if you do the ''pradakshina'', it is like having another birth, along with Shiva’s grace.’

[[image:Kailasanatha_Temple4.jpg|200px|thumb|Kailasanatha Temple: Mahishasuramardhini]]
The temple, built in sandstone with nearly sixty planned niches, seems to be the work of gods. The intricate carvings of divine beings, a never-ending repeat of the Somaskanada panel, the mythic lions and the imposing Nandis have to be seen and experienced. Here is Vishnu holding up the Mandara mountain as gods and demons churn the ocean, a little away there is the confrontation between Shiva and Arjuna. Soon comes Shiva destroying Yama, and again dancing with a ''damaru'' in his hand in gay abandon. Nay, there is much more.

‘The cells of many of these contain traces of old paintings on plain walls or painted stucco over reliefs. The external reliefs of these ''parivara'' [family] shrines of the ''malika'' [cloister gallery] contain a variety of sculptures, both Saivite and Vaisnavite, of varied iconography, thus making this temple complex a veritable museum of iconography and plastic art. The sculptures include the ''dipkalas''[the guardian deities of the directions] and Ganesh, who makes his first appearance in Pallava temples, as also the Saptamatrika group, Chandesa and other ''parivara'' deities.’<ref>K R Srinivasan, Temples of South India (New Delhi: National Book Trust, 1991), 116.</ref>

[[image:Kailasanatha_Temple5.jpg|200px|thumb|right|Kailasanatha Temple: Descent of Ganga]]
There is a charming legend connecting the construction of this temple with Pusalar, a Nayanar whose history is recounted by Sekkilar. When the Pallava king Rajasimha had completed the splendid temple to Kailasanatha, an auspicious date for the consecration of the temple was chosen by his chief priest. However, the deity appeared in Rajasimha’s dream and said that the date of consecration would have to be changed as the Lord was to be present in the magnificent temple being consecrated by Pusalar in Tiruninravur (Tinnanur) at the same time. The king was mystified; how could a huge temple be built in his own kingdom without his knowledge? So he hastened to Tiruninravur. No temple was to be seen there. On making enquiries, he learnt that one poor brahmin, Pusalar, had been going around saying he was building a temple to Shiva and would daily announce the progress in the works. The king went to Pusalar and spoke to him of his dream. The poor devotee exclaimed: ‘Alas! I have built only in my imagination. Did the Lord re-ally take notice of my desire?’ The king saluted the devotee with reverence and returned to his capital. Pusalar’s sincerity became legendary, and he is honoured as the Nayanar of whom Sekkilar sings in his'' Periya Purana':'

<blockquote><poem>
Let us recollect Tiruninravur’s Pusalar
Who wished to build a temple to Shiva
But had not the wherewithal.
And how he built a temple in his mind. …
Having decided, he tried for money.
‘How shall I build without capital?’
He began collecting everything needed
To build, all in his imagination.
He got materials and carpenters,
Decided upon a date to lay the foundation,
Planned everything according to the Agamas
And built without sleeping even at night. …
He (the King) came to the place and asked
Those present: ‘Where is Pusalar’s temple?’
‘Pusalar has built none’, they replied.
‘Let all scholars come’, the king said. …
After consecrating Shiva in the mind-temple
At the auspicious time, and having performed
Worship for a long time after,
The devotee reached the feet of Shiva.<ref> Periya Purana, 65.1,5, 6, 12, 17. </ref>
</poem></blockquote>

The legend indicates the richness of the temple building activity of the times as well as the wide-spread dissemination of Sanskrit Puranas that led to the inextricable association of temples with the great Indian tradition.

For Shiva Kanchi, the Kanchi Kamakoti Math is a major Shaivite presence. Tradition avers that Adi Shankara went to the Himalayas and had the darshan of Shiva and Parvati. He brought the ''sphatika'' (crystal) linga given to him by Shiva to Kanchi where he established a monastery and installed the linga for regular worship. Among the pontiffs who graced the math in recent times, Sri Chandrasekharendra Saraswati, popularly known as the Paramacharya, took the math to great heights by initiating a resurgence of Indian culture. Vedic studies, renovation of temples, and traditional arts like sculpture and architecture have been given a great fillip. The math also provides medical help to the masses .

The Jnanaprakasar Math has done priceless service to Shiva Kanchi by propagating the Shaiva Siddhanta, probably the oldest tradition of its kind. Apart from ritualistic worship of the Meykandeshwara Linga, the math arranges lectures on philosophical and theological aspects of Shaivism, as propounded in the fourteen Meykanda Shastras. Well, who can exhaust Shiva Kanchi? One must go there again and again and again. And experience the calm of mind made passionless by the blue-throated Lord:

<blockquote><poem>
Like the faultless lute, the moon at night
The southern breeze, the brilliant spring,
The scented lake covered by humming bees,
Is the cool shade of my Lord Shiva’s feet.<ref>Tirunavukkarasar Tevaram, 90.1.</ref>
</poem></blockquote>

== Vishnu Kanchi ==
In the celebrated poem ''Vishwagunadarsha Champu'' by Venkatadhvari, the gandharvas Krishanu and Vishwavasu are found flying over India in an airborne vehicle commenting on various well-known pilgrim centres. Krishanu is always critical, but Vishwavasu can only see the good in everything. A very instructive and informative poem, the ''champu'' moves southwards from Badrinath to Chennai and thence to Kanchipuram. Vishwavasu gives a very warm description of the city, and salutes Varadaraja: ‘As we reach the Hasti Hill, we salute the Eternal Flame (''Dhama Sthiram'') which rivals Kamadhenu (the cow of plenty) and the “wish-yielding tree”, guards Indra and other deities, is holy, and has eyes that are cool with compassion and lips that are scented with yajna ingredients.’ 1 But as he recounts the legends concerning Varadaraja, Krishanu must needs put a spoke in his wheel of enthusiasm: ‘After all he (Varadaraja) stopped the progress of Saraswati. How can you praise him!’

The foremost temple of Vishnu Kanchi (also known as Chinna Kanchipuram) is that of Varadaraja, located in the eastern quarter of the city. The Puranic legend about the origins of the temple is easily told. Once upon a time Lakshmi and Saraswati went to Indra to find out who between them was superior. Indra spoke in favour of Lakshmi. Saraswati cursed him to be born as an elephant. She went to Brahma but he too said that Lakshmi was superior. Incensed, Saraswati took away his Creator’s Staff . Brahma performed tapasya to regain his staff . Narayana appeared to him and told him that if he (Brahma) could perform a sacrifice in Satyavrata Kshetra (Kanchipuram), he would get back his staff, as a yajna performed in this holy place is equivalent to one thousand Ashwamedha yajnas. Saraswati rushed upon Brahma’s yajna as a flood, but was stopped midway by Vishnu, who lay across the path. Brahma successfully completed the sacrifice and out of the sacrificial fire rose Narayana as Varadaraja (one who grants boons). The Lord returned to Brahma his ''srishti danda''. At that very moment, Indra, who had by now become the Hasti (Elephant) Hill, got Vishwakarma to construct a temple atop the hill for Varadaraja.

[[image:Lakshmi_Varaha.jpg|thumb|Lakshmi Vararha - a poem in stone]]
Historically speaking, the temple is more than a millennium old. Those who contributed to its building and growth include the Cholas, beginning with Rajaraja the Great (1018–54 CE), Pandyan kings like Sundara Pandya (13th cent.), the Cheras, and the Hoysalas. From the fourteenth century onwards the kings of the Vijayanagar Empire took great interest in the temple. Their spiritual mentors included Kotikannikadhanam Lakshmikumara Tatadesikan, of the famed line of Tatacharyas who were custodians of this temple. Among the mammoth structures built during this period is the celebrated Kalyana andapa, verily a connoisseur’s delight. Each of the ninety-six pillars is exquisitely sculpted with innumerable figures. Some figures actually seem to be ready to leap towards us. Vishwamitra performing tapasya as Mena ka dances, a cat trying to catch a dove, Hanuman giving the signet ring to Sita, the battle of Krishna and Jambavan, Rati and Manmatha flying on their parrot and swan mounts, and ''gopika-vastrapaharana'' (stealing of the gopis’ clothes) are some of them. There are scenes from the Ramayana and also trick sculptures aplenty— like a figure with three faces, four hands, and four legs; four monkey faces on the bodies of two monkeys; and an elephant when seen from the front appearing as a bull from behind. The irresistible marvels of this mandapam include the hanging stone chains. All the links in a given chain, including the stone plate from which it hangs, have been cut out of a single block of stone! Who was this divine sculptor? Who knows!

This Kalyana Mandapam is immediately to the left from the Varadaraja Temple’s front gopuram, which rises to thirty metres with seven tiers topped by nine ''kalashas'' (rounded pinnacles). Immediately behind the mandapam is the sacred pond, Ananta Pushkarini. Aththi Varada (an icon of Varadaraja made of wood, said to be the original deity worshipped in the sanctum) rests in a silver box beneath the waters and is displayed once in forty years. On three sides of this pond are various shrines. Lakshmi Varaha in a tiny niche is verily a poem sculpted in stone. Other deities enshrined in this area include Ranganatha and Sudarshana.

Going towards the hill which forms the centre of the complex, is the place to offer first salutations—to Yoga Narasimha in a cave. The Hasti Hill rises above this cave and has the sanctum of Varadaraja at the top. Varadaraja is seen standing, facing west. The ''utsava vigraha'' (the image used for festive outings) of Varadaraja has marks on the face. The priest explains that these are due to the heat of the sacrificial fire from which the Lord appeared on earth. For just a few minutes one takes in the scene, and then the veils of history enclose us to recreate a very different world. How many are the mystic dramas that have been enacted in this tiny space!

Sri Ramanuja’s formative years were spent here as a student. One of his teachers was Tirukachchi Nambi. Nambi’s duty was to wave the chowry for the deity in the sanctum. Belonging to the trader caste, Nambi was the very image of humility. So pure was his devotion that the Lord would have a dialogue with him whenever they were alone. We are assured by legends that one day Nambi was able to get answers directly from the Lord for the questions that had been troubling Sri Ramanuja. Other spiritual luminaries associated with Varadaraja are Nadathur Ammal, Kuresha, and Vedanta Deshika.

Kuresha (Srivatsanka Mishra) was the earnest disciple of Sri Ramanuja who saved his master from an inimical Chola king. But he was himself imprisoned and had his eyes gouged out. When he was released and went to his master, Sri Ramanuja asked him to go and pray at Kanchipuram, since Varadaraja was an unfailing giver of boons. It is true Kuresha lacked physical vision to see the deity, but Varadaraja was a familiar presence to him, as he had grown up in Kuram, close to Kanchipuram. So Kuresha went to Kanchipuram, stood before the Lord in the sanctum, and offered his supplication through one hundred and two verses that became famous as the ''Sri Varadaraja Stava''. We are told that when he was actually reciting the poem, the deity grew compassionate and asked him to choose a boon. Though Sri Ramanuja had hoped that Kuresha would ask for the restoration of his eyesight, the humble sadhaka wanted only ''paramapada'' (supreme beatitude) for the one who had harmed him: ‘The ananda that I am going to gain must be the portion of Naluran also!’ (It had been under the instigation of Naluran that the king had turned inimical towards Sri Ramanuja and passed the order to gouge out Kuresha’s eyes.) Touched by the devotee’s kindness even to an enemy, Varadaraja gifted him the ability to perceive his divine form as also that of Sri Ramanuja. The radiant poem by the aged devotee is couched in easily sung Sanskrit.
A magnificent description of Varadaraja marks the opening:

"May the Lord who has been described as unequalled and peerless by the accents of the Upanishads, Hari who is atop the Elephant Hill, always grant me the good.I surrender unto him who is a treasure to Lakshmi-Perundevi Thayar, a shoreless treasure unto those who seek his help, one who has vowed to grant the purusharthas desired by devotees, who is ever concerned with the well-being of all living beings, whose treasure is compassion, the king of all, the lord of immortals".

Having assured himself and all those who would read the ''stotra'' (hymn) as a manual of sadhana that Varadaraja is the never-failing goal, Kuresha seeks to image the Supreme Being verily as a Self-created Brilliance on the Hastigiri, and surrenders to the hill itself for having made this image hailed in the Vedas perceptible to human sight.

Vedanta Deshika was the author of several ''stotras'', the epic'' Yadavabhyudaya'', and the drama ''Sankalpa-suryodaya'' in Sanskrit. At the same time he had an unrivalled mastery of Tamil and was immersed in the hymns of the Alvars. Once, the traditionalists of the Varadaraja temple objected to his reciting Tamil hymns in the ''prakara'' (circumambulatory path around the shrine). Vedanta Deshika argued with them and won the day. He then wrote the poem Tiruchchinnamalai in praise of Varadaraja that is recited whenever the Lord is taken out in procession.

Just outside Varadaraja’s sanctum and towards the right in the ''prakara'', is the twin lizards in the eastern corner. This is a very popular sight and is considered sacred. Etched on the roof are two lizards with two circles that seem to represent the sun and the moon. Legend says that these lizards were originally brahmana boys. Once they went to the forest to bring water for their guru, Rishi Gautama. They inadvertently left the pot uncovered, and when Gautama wanted to use the water, out leapt a lizard. The reship cursed his disciples to be born as lizards for a while for their carelessness. Aft er they were released from the curse, Indra had a gold and a silver lizard made, and announced that whoever stands in this corner marked by the lizards and looks at the Hastigiri will get the merit of having recited Hari’s name on an ''ekadashi'', the auspicious eleventh day of the lunar fortnight.
[[image:Lizard.jpg|thumb|The auspicious lizards]]

Coming down the steps, is the location to offer salutations at several shrines to such divinities as Dhanvantri, Malayala Nachiyar, and Perundevi Thayar (Goddess Mahadevi). Perundevi Thayar is a very noble presence who never fails to grant a sincere prayer. It is said that once Vedanta Deshika wanted to help a young brahmacharin who needed money to get married. When he composed and recited the ''Sri Stuti'' in the presence of Perundevi Thayar, there was a shower of gold. We now climb down to level ground and then go around another huge ''prakara'' which has niches to acharyas like Nammalvar, Ramanuja, Varavara Muni, and Vedanta Deshika.

Apart from Varadaraja’s temple, Kanchipuram’s Vaishnava ambience includes several other renowned elements of history, architecture, and literature. There is the temple at Urakam where the ''mulavar'' (main deity) is Trivikrama in a massive sculpted image. He has both his hands stretched sideways and the left leg lifted upwards in the act of measuring the skies. In the same temple, a visitor can salute three deities that were not originally residents of this temple: Jagadishwar of Tirunirakam, Karunakara of Karakam, and Karvana Perumal of Tirukarvanam. In times of political disturbance these images were brought here for safe custody and have remained here ever since. A little distance away from the front of this temple is a popular shrine to Chaturbhuja Anjaneya. Among other sacred places that are associated with Vaishnava presence in Kanchipuram are Tiruvehka (with Yathokathakari as the deity), Ashtabhuyakaram (Gajendravarada), Tiruthangal (Dipa Prakasha), Tirukalvanur (Adivaraha), Tiruvelukkai (Narasimha), Tirupadakam (Pandavaduta) and Tirupavalavannam (Pavalavannar).

While all these temples have somehow survived the onslaughts of time thanks to the unswerving faith of the devotees, it is Parameshwara Vinnakaram which is talked about much for its history and art. Situated within a kilometre of the Kanchipuram railway station, this is one of the most ancient Vishnu temples. It is built in sandstone with an admixture of granite. The place was originally a math and was used by pilgrims on their way to Banaras. The present structure was built by the Pallava king Parameshwaravarman (also known as Nandi-varman II) in the eighth century. It has three sanctums, one above the other. Vishnu is in the ''asana'' or sitting posture (Vaikuntha Perumal) in the sanctum on the ground floor, in the ''shayana'' or reclining posture (Ranganatha) on the first floor and in the ''sthanaka'' or standing posture (Paramapadanatha) on the second floor.

There are innumerable legends concerning this temple, which has been sanctified by the hymns of Tirumangai Alvar. According to one of them, Parameshwaravarman was gifted as a baby to his parents by the Lord himself, who came to them in the guise of a hunter. Since he grew up drinking the milk of elephants, he is said to have presented eighteen elephants to this temple.

What takes our breath away in this temple is the unending series of sculptures in the ''prakaras''. Having been carved out of sandstone, they are crumbling, but restoration work by the Archaeological Survey of India (ASI) has done marvels. One is left dumb with astonishment at the chisel of the sculptor that has created a video effect through several series: the battles between Pallavas and Chalukyas; the destruction of Hiranyakashipu by Narasimha; the killing of Narakasura by Krishna; the slaying of Vali by Rama; the events concerning the birth of Parameshwaravarman, his coronation, and the Lord teaching the king all the shastras are some of them. The Pallavas were fond of performing the Ashwamedha sacrifice and this too has been illustrated. One can even see a pilgrim from China carved on the wall.

In more recent history, Krishnadeva Raya of Vijayanagar provided amply for the upkeep of the temple. At present it is under the control of the ASI. Just beside the temple there is a mosque. The mosque shares the tank of the ancient temple, underlining the tolerant attitude that prevailed here.

[[image:Varadaraja_Perumal.jpg|thumb|Sri Varadaraja Perumal]]
Kanchipuram is inexhaustible. One is simply overwhelmed by the legends, history, and historical monuments in the city and its environs. The city appears to be a crucible in a divine laboratory. Religion and spirituality are seamlessly woven into secular life even today. The presence of several maths needs to be mentioned in this context. These include the Tondaimandala Adhinam, which is Shaivite and is headed by Sri Jnanaprakasha Deshika Paramacharya; the branch math of Tiruvavaduthurai Adhinam headed by Sri Sundaramurti Tambiran; the Upanishad Brahmendra Math, which has a famous icon of Dakshinamurti; and of course the Shankara Math guided by its pontiff , Acharya Sri Jayendra Saraswati. We also have now the Sri Ramakrishna Math at Karaipettai that is working ceaselessly for the strengthening of the bases of education, culture, religion, and spirituality that have made Kanchipuram famous for several millennia and drawn from Kalidasa the priceless compliment: ‘As is jasmine amongst flowers, Vishnu amongst men, Rambha amongst women, so is Kanchi amongst cities!’

'''Note'''

1. Varadaraja is said to have risen from the sacrificial fire at the yajna performed by Brahma on the banks of the Vegavati river.

== References ==

{{ reflist }}

* Originally published as "Kanchipuram, the Four-fold Glory" by Prabhuddha Bharata [https://advaitaashrama.org/pb_archive/2007/PB_2007_May.pdf May 2007], [https://advaitaashrama.org/pb_archive/2007/PB_2007_June.pdf June 2007], [https://advaitaashrama.org/pb_archive/2007/PB_2007_July.pdf July2007] and [https://advaitaashrama.org/pb_archive/2007/PB_2007_August.pdf August 2007] editions. Reprinted with permission.

Kanchipuram

2010-06-06T09:45:08Z

K. Ravindranath:

Kanchipuram

2010-06-05T15:20:36Z

K. Ravindranath:

By Dr Prema Nandakumar

Pushpeshu jati, purusheshu vishnu;
Narishu rambha, nagareshu kanchi.

This jingle is attributed to Kalidasa. He was certainly a connoisseur of places and might have seen enough of Kanchipuram more than a millennium ago to come up with this crisp verse. Certainly, for over two thousand years, Kanchipuram has been laying down layers of the finest in culture. Even though these earlier days have largely to be surmised, there is plenty of historical documentation about the Pallavas and Cholas, who had a big hand in building the city and its environs.

The original name of Kanchipuram was Kachchi Managar. There have been different interpretations of the word ''kanchi''. The Sanskrit term denotes a woman’s waist-girdle. This place was also known as Tondaimandalam in ancient Sangam literature in which it is referred to as a forest of kanchi (river portia) trees. The city itself is referred to as Kachchi in works like ''Manimekalai''. It is located on the Palar River. The famous Sangam classic ''Perumbanatruppadai'' describes Kanchi and its king, Ilamtiraiyan:

<blockquote><poem>
Flanked by its belt of defensive jungle is that city
Whose doors are never closed to those who seek the prize.
Lovely like the pericarp of the many-petalled lotus /
The navel of the dark-hued Lord …<ref>"Perumbanatruppadai," Translated by N Raghunathan.</ref>
</poem></blockquote>

== Buddha Kanchi ==
Kanchipuram’s socio-religious presence is marked by a four-fold glory. Even today, people are drawn not to a monolith but a four-in-one city: the Buddha Kanchi, the Jina Kanchi, the Shiva Kanchi, and the Vishnu Kanchi. All of them have histories stretching back at least a couple of millennia with the Buddhist faith being the earliest to have laid foundations at Kanchipuram.

According to the Girnar inscription of Emperor Ashoka, it is known that by the third century BCE Buddhism had registered its presence widely in South India.<ref>‘…within Beloved-of-the-Gods King Piyadasi’s domain, and among the people beyond the borders the Cholas, the Pandyas, the Satiyaputras, the Keralaputras, as far as Tamraparni and where the Greekking Antiochos rules, and among the kings who are neighbors of Antiochos, everywhere has Beloved of-the-Gods King Piyadasi made provision for two types of medical treatment: medical treatment for humans and medical treatment for animals. (English rendering by Ven. S Dhammika.)</ref>Some of the Tamil Sangam works like ''Natrinai'' and ''Madurai-k-kanji'' have references to Buddhism. For instance, the latter describes women going to a Buddhist vihara for worship:

<blockquote><poem>
Young women held fast to themselves
Little children ornamented with jewels
So they would not be lost; kissing them
And holding firmly their hands
That appeared like pollen-rich lotus buds,
They stood there, carrying flowers for worship,
And scented smoke, singing the glory
Of their Lord in that Buddha vihara …<ref>The Tamil term ‘Katavut Palli’ has been explained as a temple to Buddha by scholars.</ref><ref>Madurai-k-kanji, Translated from Tamil by Prema Nandakumar</ref>
</poem></blockquote>

[[image:Buddha_On_Ground.jpg|thumb|Buddha on the School Ground]]
Significant parts of ''Manimekalai'', a Buddhist epic from the later Sangam age, take place in Kanchipuram. Manimekalai is a dancer who becomes a nun. She obtains the Amuda Surabhi (nectar vessel) which produces food without end. This she uses for per-forming charity. In the course of her travels, she is directed by her grandfather Masattuvan to go to Kanchi, as the city had been devastated by a drought. When she goes there, she finds a temple to Buddha at the very centre of the city:

<blockquote><poem>
With her heart full of compassion, the maid
Went around the fort rightwards, and got down
Into the central part of the city.
She prayed at the temple built by the king’s brother
To Buddha, who had sat under the Bodhi tree
Which had golden branches
And fresh green leaves rivaling emerald.
</poem></blockquote>

The king builds a garden in honor of Manimekalai’s coming to help his people. Delighted, Manimekalai makes him build a lotus seat for Buddha. She then places the Amuda Surabhi on the lotus seat and welcomes all living beings to gather to be fed. It is an unforgettable scene in which all the marginalized, the hungry, the defeated, and the maimed come to her for succour:

<blockquote><poem>
Like life-giving sustenance for those who ate,
Like the result of giving alms to ascetics,
Like the yield when the seed is sown with thought
To water, earth, season, and work in the fields,
Like rains that fall to help the earth’s yield,
Was the maid compared and thanked by people
Whose hunger-sickness had been cured by her.
</poem></blockquote>

She then meets her spiritual teacher, Aravana Adikal, who instructs her in the Dharma. Her mind illumined, Manimekalai dedicates herself to the ideal life that leads to salvation.

[[image:Buddhar_Alayam.jpg|thumb|Koneripakkam:Buddhar Alayam]]
Is this all an epic tale and no more? One realizes that the very ancient Buddhist past is very much present in today’s Kanchipuram when the author goes to Arappanancheri, where the sage Aravana is said to have spent the latter part of his life. Today the place is known as Arapperumchelvi Gramam (the place of the Maid of Great Charity). The author goes into the local temple, which had a huge pipal tree in front. With-in was the goddess Paranjoti Amman. The striking thing about this temple is a plaque proclaiming the following statement in Tamil: ‘From time immemorial this village has not allowed sacrifice of any life.’ This plaque bears witness to the area having been Buddhist from early times.

[[image:Bodhidharma.jpg|thumb|Bodhidharma brought Buddha’s teachings to China; here he graces the Koneripakkam temple]]
History records the names of several great Buddhists of Kanchipuram who spread the Dharma all over the world. Buddhaghosha (fifth century CE), along with the monks Sumati and Jotipala, lived in Kanchi. Aniruddha, author of ''Abhidhammatthasangaha'', lived in the Mulasoma Vihara. A Pallava king named Buddhavarman apparently built many viharas. Even today one can walk across a Buddheri street. But one has to peer into unlit corners for vestiges of the Buddhist past. A Buddhist statue on a pillar at the Kachabeshwara temple, a piece of what once was a stupa found in a field … and the mind races back to the brilliances that had once adorned Kanchi.

Acharya Dharmapala, who entered the Sangha on the eve of his wedding, lived in Patatitta Vihara built by Ashoka near Kanchipuram. He wrote Pali commentaries for some of the Tripitaka texts. He taught at Nalanda University but died young at the age of thirty-two. Ashoka’s closeness to Kanchi has been recorded by Hsuan Tsang, who says that a Buddhist stupa built by him was still standing four centuries later. Deepankara Tero, author of the Pali work ''Bhujja Madhu'', lived in Balatissa Vihara in Kanchi. Ananda Tero of Kanchi was taken by Saddhamma Jotipala to Burma to spread Buddhism there. There are other revered names associated with Buddha Kanchi: Venudasa, Vajrabodhi, Sariputra … And among the most famous Buddhists of ancient Kanchi are Dignaga and Bodhidharma. Hsuan Tsang, who visited Kanchipuram in the seventh century CE, records that there were one hundred monasteries with ten thousand monks belonging to Teravada Buddhism following Dignaga’s yoga. Dignaga (fifth century CE) was a native of Kanchi and was born in Simhavaktra (Seeyaman-galam). His ''Hetuchakra'' (Wheel of Reason) inaugurated Buddhist philosophical logic. Bodhidharma (fifth century CE) was a Brahmana prince of Kanchi who became a Buddhist and was trained in the techniques of meditation by Prajnatara. He went to China during the Sung rule. Emperor Wu was not pleased with the manner in which Bodhidharma couched his answers. It is said the Indian monk shut himself up in a Shaolin temple in Honan Province and emerged after nine years with two books. One of them was the famous ''I Chin Ching''.

Bodhidharma is considered the founding father of Zen Buddhism. Inspired by the Vajramushti technique prevalent in India, he taught martial arts to the Chinese (well known as the Shaolin martial arts) and also how to control the breath to strengthen the blood and immune system, energize the brain, and attain enlightenment. He is today revered by various names like Bodhitara, Ta-mo, and Bodhi Daruma. He passed away around 534 CE.

[[image:Bodhi_Nagar1.jpg | thumb|Bodhi Nagar—‘Never for himself: for the good of the world’]]
One has to mention in the same breath that by the eleventh century Buddhism was very much on the wane in Tamil land. Sectarian disputes and the decadence of Buddhist institutions brought this chapter to a close. As early as the seventh century, the Pallava king Mahendravarman had issued a warning to the monks of Kanchipuram in his farce ''Matta-vilasa-prahasana'' (Tale of the Drunken Monks). A religion that had established monasteries all over Tamil Nadu, made an undeniably strong presence in the neighbouring Andhra country, and initiated a way of life that had percolated to the tiniest villages in the countryside was reduced to a distant memory with dizzying speed.

[[image:Bodhi_Nagar2.jpg | thumb|Bodhi Nagar]]
So it was not surprising that no one in Kanchipuram could show around Buddha Kanchi, because there is none present. Other layers have been spread out over what was once a vast complex of Buddhism and Buddhist art and architecture. Wandering in search of artefacts, though, one was not disappointed. Some of the goddess sculptures in the Kamakshi temple have been identified as that of the Buddhist Tara Devi, and it was in this temple that a Buddhist stupa be-longing to the second century BCE was discovered. T A Gopinatha Rao found a standing Buddha sculpture in the innermost corridor of the Kamakshi temple in 1915. This seems to have been shifted to the Madras Archaeological Museum. A Buddha sculpture unearthed near the Ekambreshwara temple is now kept in the adjacent police station. Flower and incense offerings indicate that the statue is held in veneration. It was also cute to find that a devotee had applied an artistic circlet of sandal paste with kunkum to the Buddha’s forehead.

Even today, there are quite a few discoveries at hand to keep one inspired. In the Subarea Mudaliyar School Ground there is a massive Buddha seated in meditation, presiding over a class held in the open by the teacher, Hari Kumar. You could not find a nobler scene for your camera! Buddhism has had a revival in these parts thanks to social reformer Ayoddhi Dasar, who sought to give voice to the underprivileged Dalits. On a visit to Koneripakkam to see a newly built shrine, Kannivel a guide showed the author around. The place was neat, and there were ''kolam'' decorations in front. At the entrance to the modest structure is a Buddha figure on a broken pillar. He was told it had been retrieved from a nearby place that was being dug up to build a Muslim dargah. The sanctum had a Buddha figure along with a bell, a cup of water, and a plate for ritual worship. Bodhidharma’s portrait, gifted by a devout Korean, looked down benevolently from the wall. A Buddha head in a glass case conveyed an amazing sense of peace. It had been found under an uprooted pipal tree. Kannivel told me that the entire space was once definitely a Buddhist monastery.

‘Should it always be “once upon a time” for Buddha in Kanchi?’ the author muses. Immediately the guide assured that there is a shining future for Buddhism and asked if I would go over with him to Bodhi Nagar. Near Vaiyavur Road and across a bit of slushy ground, is a very clean and peaceful place. Entering it I bowed at the flagstaff and walked a few steps to the Bodhi tree surrounded by a wall built in the Sanchi style. Founded by Ven. Divyananda, the Mahamuni Society is trying to return to the monastic style popularized by the Buddhists two millennia ago. In the shrine there is a statue of Buddha sculpted in Mahabalipuram. The tranquil atmosphere took me back to the epic ''Manimekalai'', and I walked out reciting Sutamati’s prayer—

<blockquote><poem>
Our Lord, self-taught, the essence of faultless things,
Incarnating in nature’s several forms,
Always living for the good of others,
Never for himself: for the good of the world
His penance, with the idea of Dharma.
Hence his rolling the wheel of Dharma rays.
He won victory over desire; Buddha’s feet
Shall I praise, my tongue shall naught else do.
</poem></blockquote>

== Jina Kanchi ==
If the Buddha Kanchi of yore cannot be pinpointed today, Jina Kanchi, fortunately, has to itself an allowed area where two temples have stood witness to the rise and fall of dynasties for over a millennium. Jainism seems to have come to Tamil Nadu even earlier than Buddhism because it is associated with Chandragupta Maurya’s retirement in Karnataka. It is widely believed that when his kingdom was devastated by a famine, Chandragupta renounced his throne on the advice of his spiritual preceptor Bhadrabahu and travelled to South India. Settling down in Karnataka, he is said to have taken to ''sallekhana'' (the Jain ascetic tradition of giving up one’s body by renouncing movement and eating). The work of master and disciple in furthering the cause of Jainism in South India must have been very deep indeed. The place where they stayed became the Shravanabelagola of later times with the erection of the magnificent monolithic statue of Gomateshwara. Jainism spread well and seems to have entered Kanchipuram not long after Chandragupta’s passing.

Though the age of Jainism in Tamil Nadu has not been exactly determined, it does have a very ancient presence stretching back to the Sangam era. The monks belonging to the religion were known as ''samanas'' (from Sanskrit ''shramana'') and the householders as ''savakas'' (or ''shravakas''). Because the monks were an obvious visible presence as teachers, the pathway came to be known as the Samana religion. The monasteries were known as Samana palli (like the Buddhist vihara) and functioned as organized educational institutions. Kanchipuram, being the capital of the Tondaimandalam area (which once included Chennai, Tiruvellore, Vellore, and Tiruvannamalai) was not insulated from this sweep of Jainism all through South India.

The Pallava king Simhavishnu, who ruled from Kanchipuram, was a follower of Vaishnavism, but he did not look down upon other religions. His son Mahendravarman (seventh century) was drawn to Jainism early in life. The wonderful cave temple at Sittannavasal is attributed to his munificence. Located in the Pudukottai area, the cave has frescoes on Jain spiritual themes like the Samavasarana (divine pavilion) Lake. It is significant that Mahendravarman’s drama, ''Matta-vilasa-prahasana'', which is a satire on the ways of the Pashupatas, the Kapalikas, and the Buddhists, avoids any criticism of Vaishnavism, popular Shaivism, or Jainism.

Literature has kept alive some of Jainism’s old connections with Tondaimandalam. The author of the Jain epic ''Chulamani'' is associated with Karvetinagar near Tirupati. At a distance of ten miles from Kanchipuram is Tirupanambur, where the Jain acharya Akalanka lived. He is said to have defeated the Buddhists in a debate in the court of King Himasitala of Kanchi. The eminent Jain commentator Suranandi lived in Tiruparuttikunram. ''Merumandara Puranam'' is the legend of the two assistants of the thirteenth Tirthankara, Vimalanatha. This narrative in thirteen cantos about the princes Meru and Mandara is attributed to Mallisena Vamana (fourteenth century) who lived in Kanchipuram. The impressions of his feet and those of his disciple Pushpasena are honoured in the Chandraprabha temple atTiruparuttikunram in Kanchi. Mallisena’s Purana upholds Jain thought with crystalline clarity:

<blockquote><poem>
If you wish to act, perform dharma.
If you wish to renounce, renounce anger.
If you wish to see, look at knowledge.
If you wish to guard, protect your vows.
</poem></blockquote>

Curiously, the work firmly states that women cannot achieve realization:

<blockquote><poem>
Those placed in the four states of being due to fate
By their inner aspiration are born as humans,
And perform charity, worship, and tapasya,
And get beyond the states to moksha: not so women.
</poem></blockquote>

Mallisena has also written a commentary for the epic ''Nilakesi''. Udisi Devar, who authored ''Tirukkalampakam'' and ''Arungalacheppu'', was the head of Arpakai village in Tondaimandalam. His ''Tirukkalampakam'' is an amazing attempt to take in the whole of the religious symbolism of his time and make them all represent the Arhat. He is Shiva, Brahma, Muruga, the lord who rested in the midst of the milky ocean, and even Shakti. Towards the end, Udisi Devar speaks in a voice which must have gone down well with the devotees, for already the Jain pantheon had a vast array of gods and goddesses:

<blockquote><poem>
Praising the beloved of the Lord,
The mother who gave birth to this earth,
Eternal Virgin, the goddess who sustained
Dharma; from her have blossomed forth
The six religions; the Self-create;
The one lamp illumining creation;
One who is an enemy to the disease of our birth;
The divine foster-mother who gives unstintingly
Her compassion to all living beings;
The chaste one who speaks in sublime accents;
A creeper of ananda; a flame of wisdom;
The medicine that cures the fever of the senses.
Thus do the tapasvins praise, when they worship
The auspicious feet of the Arhat.
</poem></blockquote>

No wonder one who is used to worshipping in Hindu temples does not feel a stranger in ''jinalayas''. Unlike Buddhism, the Jain religion seems to have given a very important place to temple worship. Jain temples, and the rituals held therein, are described in epics like ''Jivaka Chintamani'' and ''Chulamani''. While the former has detailed descriptions of temples to the Arhat and even of a Kama Kottam (temple to Kama), the latter has a ‘Canto on Renunciation’ in which King Bayapati conducts worship in a Jina temple with scent, flowers, and water. He circumambulates the sanctum and recites a ten-verse prayer to the Arhat. While Vedic religion gave importance to yajna, and Buddhism frowned upon image worship, Jainism was for the consecration of holy images from the very beginning. Stone and metal were the favourite media; the paintbrush was also wielded with finesse. The first in the field, the Jains mastered sculpture and metal casting over two millennia ago, making the ''jinalayas'' treasure troves of devotional art.

[[image:Samavasarana.jpg|thumb|A Samavasarana]]
Such temples were obviously innumerable in the first millennium. Today one goes in search of them with almost a hopeful hopelessness clutching one’s heart, remembering the poem by Sister Nivedita:

<blockquote><poem>
We hear them, O Mother!
Thy footfalls,
Soft, soft, through the ages
Touching earth here and there,
And the lotuses left on Thy footprints
Are cities historic,
Ancient scriptures and poems and temples,
Noble strivings, stern struggles for Right.
</poem></blockquote>

Two temples of Jain Tirthankaras built in the ninth century in Tiruparuttikunram, near Kanchipuram are still intact. One is a temple to the eighth Tirthankara Chandraprabha, and it is believed that Nandivarman Pallavamalla, king of Kanchipuram, built it. The adjacent Trailokyanatha temple has Mahavira as the main deity in the sanctum. Apparently the land was gifted to the Jain community by King Simhavishnu and his queen as early as the fifth century. Much later, Parakesarivarman Chola and Kulo thunga Chola granted whole villages to Jina Kanchi. Emperor Krishnadeva Raya, who did much to save Hinduism from Islamic depredations, also contributed handsomely to the temple to help restoration works in the seventeenth century.

[[image:Sri_Trailokyanatha.jpg|thumb|Sri Trailokyanatha]]
As I get to see these temples, I find it hard to believe that they are under the control of the Archaeological
Survey of India. An ancient lady, Padma, seems to be the caretaker; she willingly opened the main entrance after asking us sternly to deposit our cameras back in our car, while loudly complaining about how difficult it was to keep stray cattle and prowlers from entering the temple and desecrating them. The main door opens to a vast ''parikrama'' (circumambulatory corridor) and immediately before me is a ''dhvajastambha'' (flagstaff ) and ''balipitha'' (sacrificial altar). Going up a few steps is the Sangita Mandapam (musical hall) established by Irusappar, a Jain monk. The ceiling, held up by four rows of pillars, is full of paintings. Craning my neck upwards, I gaze at an astonishing sight. Though many of the paintings are faded, there are still plenty of them that create an illusion of movement: so many young women walking, young men carrying pitchers, elephants, horses. There is the painting of a Samavasarana lake in which the devout bathe before proceeding to listen to the wise. At the very centre of the huge circular lake, with four stepped pathways converging from the four directions, is the seated figure of the acharya. There are also serial paintings depicting incidents from Mahavira’s life. Some of the paintings seemed to be about the life of Dhivittan depicted in ''Chulamani''. Dhivittan’s life has close resemblance to the saga of Krishna.

Wedged between the mandapam and the sanctum is the strong room where several ancient images of Arhats made of marble or bronze have been kept in safe custody. Some of the images are of gods and yakshis of Jain theology. The temple has huge open spaces, and a shrine nearby has the image of Arhat Pushpadanta installed in its sanctum. Going around the temple, one may well visualize King Bayapati’s reverence as he intoned the ''Chulamani'' prayer:

<blockquote><poem>
You have spread as light, this earth;
The earth is enveloped in your light.
Your reign brings grace to living beings;
Even the world of gods seeks your feet;
You have explained the eternal Truth;
Truth blossomed forth according to your will.
Recognizing the glory of your feet is Truth.
Once this is known, all else becomes clear.
</poem></blockquote>

In this context it would be well to remember Munaipadiyar’s ''Aranericharam'', which has a verse that sought to clear the confusion in the minds of common people regarding various religions, at a time when temple structures were coming up very fast:

<blockquote><poem>
Do not worry that He is this person, or that.
Meditate upon Shiva. The god Shiva
And the Lord with the triple umbrella
Beneath the shade of the Ashoka tree
Are both the same.
</poem></blockquote>

There is then the prayer from ''Tottira Tirattu'' (Anthology of Prayers) dedicated to the Arhat at the Trailokyanatha temple:

<blockquote><poem>
As the immortals ruling over the skies,
As the sub-humans in charge of the netherworlds,
As humans who enter the prison of the womb,
As animals and as ever so many forms
Have I taken birth for a long, long time
And suffered; I have now reached your temple
Auspicious, hoping to be rid of this cycle of birth.
O Mountain of molten gold
At holy Tiruparuttikunram near Kanchi!
</poem></blockquote>

== Shiva Kanchi ==

[[image:Kama_Kodi.jpg|thumb|Kama-kodi, protecting Ekambareshwara from the flood]]
We call the area Shiva Kanchi, of course. But Goddess Kamakshi takes precedence in Kanchipuram! The temple is spread over an area of about five acres; the gleaming golden vimana of her temple attracts one’s attention immediately. Historians say that separate shrines for the goddess who was worshipped as the consort of Ekambareshwara were built only from the twelfth century onwards. The temple of Kamakshi, also known as Kamakottam, obviously began as a Shakta centre (for worship of the Mother Goddess). Archaeological studies however claim a much earlier origin to the temple as one for a Jain Yakshi, when the holy place was known as Vimala Tirupalli.

[[image:Kacchapeshwara_Temple1.jpg|thumb|Kacchapeshwara Temple: detail (with the ecumenical presence of Garuda, Hanuman, and Nandi)]]
The importance of Kamakshi for Shiva Kanchi may be traced to the Puranic narrative which says that she was originally worshipped as the consort of Ekambareshwara, being part of him in the Ardhanarishwara form.<ref> For further information on the subject see R Venkataraman, Devi Kamakshi in Kanchi (Srirangam: Vani Vilas, 1973). </ref> According to the ''Kanchi Purana'', Parvati once covered the eyes of Shiva in Kailasa, thus plunging creation into darkness, and consequently inviting a curse. She expiated her guilt by taking human birth and undertaking tapas, worshipping a linga made of sand. When the nearby river was in food, she embraced the linga to guard it against the rising waters. Hence she is ''kama-kodi'', the loving creeper that has entwined herself round the Lord. In the course of evolution of her worship, the goddess began to be worshipped as the Durga of Kamakottam (the old temple), and later the present temple of Kamakshi was raised on what was apparently a Jain temple dedicated to a Yakshi.

[[image:Kacchapeshwara_Temple2.jpg|thumb|Kacchapeshwara Temple: Nandi Mandapam]]
The glorious city of Kanchi was put to the sword by the Islamic general Malik Kafur in the fourteenth century. Idols were broken down. The Kamakshi temple was one of the major victims. As in other Kanchi temples, worship was stopped in the Kamakshi temple too for several decades, till Kumara Kampana of Vijayanagar drove out the Muslim invaders and restored religious ritual. From then on, the Vijayanagar kings took good care of Kanchi, and Emperor Krishnadeva Raya loved visiting this great city.

The Kamakshi temple today is at the very centre of the city, with the Ekambaranatha temple to the north-west and the Varadaraja temple to the south-east. It is interesting to note that all the major temples in the city are structured to face the prominent temple of Kamakshi with its four spires. The seated Kamakshi is a noble image, and to her front is the Sri Chakra in which the Mother Goddess is said to reside in her subtle form.

[[image:Kacchapeshwara_Temple3.jpg|thumb|Kacchapeshwara Temple:Buddhas in bhumi-sparsha mudra on a column]]
This city is rich in legends. We are told that originally Kamakshi was the fierce form of the supreme Goddess—''ugrasvarupini''. It was Adi Shankara who installed the Sri Chakra, which contained the ferocity of the goddess and transformed her into the calm and beautiful ''brahmasvarupini''.

Kamakshi’s residence in her ''brahma-shakti'' form is in a cave below. She is said to have appeared on earth once to destroy demons, including the notorious Bhandasura. The Tapas Kamakshi (goddess undergoing tapas to expiate the sin of having closed the Lord’s eyes) has also been placed in the sanctum. Coming out of this garbhagriha, on the left is Kamakshi’s attendant Varahi. To her front is the ''santana stambha'' indicating the place where King Dasharatha gained the boon of progeny from Goddess Kamakshi. In the first ''prakara'' (circumambulatory path) is the niche of Dharma Sastha (Ayyappan) with his consorts Purna and Pushkala. Tradition avers that Karikala Chola worshipped this Sastha, who gave him the deadly weapon called Chendu which ensured his victory in the Himalayan regions. Tough it is mistakenly indicated in the niche that Sastha gave a bouquet of flowers (''poo-chendu'') to Karikala Chola, the fact that Sastha is represented with the typical Chendu weapon in his hands provides the right pointer.

[[image:Kacchapeshwara_Temple4.jpg|thumb|Kacchapeshwara Temple:Niches on the outer wall]]
One can never exhaust Shiva Kanchi. There are innumerable temples dedicated to Shiva here, and one can wander into any one of them and remain absorbed in the visuals as well as the devotional fervour evoked by aspirants going there for worship. Since Kamakshi reigns supreme in Kanchi, none of the Shiva temples have a separate shrine for the goddess, though an image is kept for ceremonial (''utsava'') processions. Many of the temples are thought to be several hundred years old. For instance, facing the western gate of the Kamakshi temple, is the Makalishwara temple, said to be the special residence of Rahu and Ketu. A snake called Makala attained mukti by worshipping Shiva in this area, and hence prayers are offered at the foot of the twin trees of neem and pipal, where a Naga has been consecrated.

[[image:Kailasanatha_Temple1.jpg|thumb|Kailasanatha Temple: Shiva and Parvati]]
Going out of the southern gate of the Kamakshi temple, is the celebrated Kacchapeshwara temple. As the presiding deity is mentioned in the seventh century classic ''Dandi Alankara'', the temple is very old. Legend speaks of Mahavishnu in his tortoise form worshipping Shiva at this place. Apart from the sanctity of the temple, what strikes one most is a series of Buddhist figures on the stone pillars of an inner mandapa. It is obvious that these pillars have been taken from a Buddhist vihara. Perhaps the vihara was the original structure and when it came down to make way for a Shiva temple several centuries ago, some of the masonry was reused by the builders.

[[image:Kailasanatha_Temple2.jpg|thumb|Kailasanatha Temple: Nandi]]
There are other Shiva temples like Suragaresha, Siddhishwara, Manikandeshwara, and Ramanatheshwara. The one to Lakulishwara (Dhavaleshwara) is associated with yogis and siddhas. It is quite obvious that from the seventh century onwards, when the Nayanmars went round singing their mellifluous songs on Shiva, there was a tremendous spurt in temple-building activity. Though the corpus of devotional hymnology pertaining to Shiva Kanchi is vast, only five temples have been hailed by the Nayanmars in their hymns. They are Ekambareshwara, Tirumetrali, Onakan-thanthali, Anekathankavatam, and Kachinerikkarai-kadu. Thus Tirunavukkarasar worshipped Ekambareshwara and the goddess Elavarkuzhali with an exquisite decad:

<blockquote><poem>
He is the God of Dissolution; He is the King who smote Death;
He is earth; He became water of the earth; He is wind;
He is fire; He is rumbling thunder and lightning;
His is the glorious, coral-like ruddy body bedaubed
With white ash; on His crest floats the crescent; on His long
Matted hair He sports the Ganga of abundant water;
He is Yekampan of Kacchi girt with beauteous groves;
Behold Him, the one enshrined in my thought! <ref>Translated by T N Ramachandran.</ref>
</poem></blockquote>

Of the two major Shiva temples, Ekamabaranatha’s raja-gopuram, built by Krishnadeva Raya in the sixteenth century, rises to 192 feet. Originally planned and structured by the Pallava kings of Kanchi on a spread of twenty acres, this temple was further embellished by the Cholas and the kings of Vijayanagar. The deity here represents the element earth (''prithvi''). The consecrated tree is mango, and the guide assures me it is 3,500 years old. Why should I disbelieve him? For time stands still in these precincts, though there is a lot of renovation work going on. The famous shrine of Vikatachakra Vinayaka is in the Thousand Pillar Hall, and the pillars stand witness to the mastery of sculpture by the workmen of earlier centuries. Another important landmark is the temple to Subramanian known as Kumarakottam, which has been made famous by Kachiappa Shivachariar—whose epic Kanda Puranam was first recited in the mandapam of this temple.

[[image:Kailasanatha_Temple3.jpg|200px|thumb|Kailasanatha Temple: Kirata and Arjuna]]
The celebrated Kailasanatha temple was built by Rajasimha (Narasimhavarman Pallava II) and his son Mahendra III. If it is exciting to go into the smaller Shiva temples in Kanchi and wander around watching the sculptures and searching for Jain or Buddhist remains of an earlier era, or to keep gazing at the Buddhist figures in meditation on the higher reaches of an outer wall of a temple, it is an experience of a lifetime to enter the Kailasanatha temple at the periphery of the city. The sanctum has a huge linga, symbolizing the Supreme, while on the rear wall one can watch wide-eyed the sumptuous Somaskanda panel. Shiva and Parvati have Subramania between them (on the lap of his mother), with Brahma and Vishnu watching the group in adoration. The outer wall of the sanctum is an amazing panorama of gods and goddesses. In between the two walls is a very narrow passage for ''parikrama''. One has to crawl to enter it and also to come out of it. A few of us who had come to worship were invited by the officiating priest to go in with the tempting words: ‘This is the entry into heaven, the Swarga Vasal, and if you do the ''pradakshina'', it is like having another birth, along with Shiva’s grace.’

[[image:Kailasanatha_Temple4.jpg|200px|thumb|Kailasanatha Temple: Mahishasuramardhini]]
The temple, built in sandstone with nearly sixty planned niches, seems to be the work of gods. The intricate carvings of divine beings, a never-ending repeat of the Somaskanada panel, the mythic lions and the imposing Nandis have to be seen and experienced. Here is Vishnu holding up the Mandara mountain as gods and demons churn the ocean, a little away there is the confrontation between Shiva and Arjuna. Soon comes Shiva destroying Yama, and again dancing with a ''damaru'' in his hand in gay abandon. Nay, there is much more.

‘The cells of many of these contain traces of old paintings on plain walls or painted stucco over reliefs. The external reliefs of these ''parivara'' [family] shrines of the ''malika'' [cloister gallery] contain a variety of sculptures, both Saivite and Vaisnavite, of varied iconography, thus making this temple complex a veritable museum of iconography and plastic art. The sculptures include the ''dipkalas''[the guardian deities of the directions] and Ganesh, who makes his first appearance in Pallava temples, as also the Saptamatrika group, Chandesa and other ''parivara'' deities.’<ref>K R Srinivasan, Temples of South India (New Delhi: National Book Trust, 1991), 116.</ref>

[[image:Kailasanatha_Temple5.jpg|200px|thumb|right|Kailasanatha Temple: Descent of Ganga]]
There is a charming legend connecting the construction of this temple with Pusalar, a Nayanar whose history is recounted by Sekkilar. When the Pallava king Rajasimha had completed the splendid temple to Kailasanatha, an auspicious date for the consecration of the temple was chosen by his chief priest. However, the deity appeared in Rajasimha’s dream and said that the date of consecration would have to be changed as the Lord was to be present in the magnificent temple being consecrated by Pusalar in Tiruninravur (Tinnanur) at the same time. The king was mystified; how could a huge temple be built in his own kingdom without his knowledge? So he hastened to Tiruninravur. No temple was to be seen there. On making enquiries, he learnt that one poor brahmin, Pusalar, had been going around saying he was building a temple to Shiva and would daily announce the progress in the works. The king went to Pusalar and spoke to him of his dream. The poor devotee exclaimed: ‘Alas! I have built only in my imagination. Did the Lord re-ally take notice of my desire?’ The king saluted the devotee with reverence and returned to his capital. Pusalar’s sincerity became legendary, and he is honoured as the Nayanar of whom Sekkilar sings in his'' Periya Purana':'

<blockquote><poem>
Let us recollect Tiruninravur’s Pusalar
Who wished to build a temple to Shiva
But had not the wherewithal.
And how he built a temple in his mind. …
Having decided, he tried for money.
‘How shall I build without capital?’
He began collecting everything needed
To build, all in his imagination.
He got materials and carpenters,
Decided upon a date to lay the foundation,
Planned everything according to the Agamas
And built without sleeping even at night. …
He (the King) came to the place and asked
Those present: ‘Where is Pusalar’s temple?’
‘Pusalar has built none’, they replied.
‘Let all scholars come’, the king said. …
After consecrating Shiva in the mind-temple
At the auspicious time, and having performed
Worship for a long time after,
The devotee reached the feet of Shiva.<ref> Periya Purana, 65.1,5, 6, 12, 17. </ref>
</poem></blockquote>

The legend indicates the richness of the temple building activity of the times as well as the wide-spread dissemination of Sanskrit Puranas that led to the inextricable association of temples with the great Indian tradition.

For Shiva Kanchi, the Kanchi Kamakoti Math is a major Shaivite presence. Tradition avers that Adi Shankara went to the Himalayas and had the darshan of Shiva and Parvati. He brought the ''sphatika'' (crystal) linga given to him by Shiva to Kanchi where he established a monastery and installed the linga for regular worship. Among the pontiffs who graced the math in recent times, Sri Chandrasekharendra Saraswati, popularly known as the Paramacharya, took the math to great heights by initiating a resurgence of Indian culture. Vedic studies, renovation of temples, and traditional arts like sculpture and architecture have been given a great fillip. The math also provides medical help to the masses .

The Jnanaprakasar Math has done priceless service to Shiva Kanchi by propagating the Shaiva Siddhanta, probably the oldest tradition of its kind. Apart from ritualistic worship of the Meykandeshwara Linga, the math arranges lectures on philosophical and theological aspects of Shaivism, as propounded in the fourteen Meykanda Shastras. Well, who can exhaust Shiva Kanchi? One must go there again and again and again. And experience the calm of mind made passionless by the blue-throated Lord:

<blockquote><poem>
Like the faultless lute, the moon at night
The southern breeze, the brilliant spring,
The scented lake covered by humming bees,
Is the cool shade of my Lord Shiva’s feet.<ref>Tirunavukkarasar Tevaram, 90.1.</ref>
</poem></blockquote>

== Vishnu Kanchi ==
In the celebrated poem ''Vishwagunadarsha Champu'' by Venkatadhvari, the gandharvas Krishanu and Vishwavasu are found flying over India in an airborne vehicle commenting on various well-known pilgrim centres. Krishanu is always critical, but Vishwavasu can only see the good in everything. A very instructive and informative poem, the ''champu'' moves southwards from Badrinath to Chennai and thence to Kanchipuram. Vishwavasu gives a very warm description of the city, and salutes Varadaraja: ‘As we reach the Hasti Hill, we salute the Eternal Flame (''Dhama Sthiram'') which rivals Kamadhenu (the cow of plenty) and the “wish-yielding tree”, guards Indra and other deities, is holy, and has eyes that are cool with compassion and lips that are scented with yajna ingredients.’ 1 But as he recounts the legends concerning Varadaraja, Krishanu must needs put a spoke in his wheel of enthusiasm: ‘After all he (Varadaraja) stopped the progress of Saraswati. How can you praise him!’

The foremost temple of Vishnu Kanchi (also known as Chinna Kanchipuram) is that of Varadaraja, located in the eastern quarter of the city. The Puranic legend about the origins of the temple is easily told. Once upon a time Lakshmi and Saraswati went to Indra to find out who between them was superior. Indra spoke in favour of Lakshmi. Saraswati cursed him to be born as an elephant. She went to Brahma but he too said that Lakshmi was superior. Incensed, Saraswati took away his Creator’s Staff . Brahma performed tapasya to regain his staff . Narayana appeared to him and told him that if he (Brahma) could perform a sacrifice in Satyavrata Kshetra (Kanchipuram), he would get back his staff, as a yajna performed in this holy place is equivalent to one thousand Ashwamedha yajnas. Saraswati rushed upon Brahma’s yajna as a flood, but was stopped midway by Vishnu, who lay across the path. Brahma successfully completed the sacrifice and out of the sacrificial fire rose Narayana as Varadaraja (one who grants boons). The Lord returned to Brahma his ''srishti danda''. At that very moment, Indra, who had by now become the Hasti (Elephant) Hill, got Vishwakarma to construct a temple atop the hill for Varadaraja.

[[image:Lakshmi_Varaha.jpg|thumb|Lakshmi Vararha - a poem in stone]]
Historically speaking, the temple is more than a millennium old. Those who contributed to its building and growth include the Cholas, beginning with Rajaraja the Great (1018–54 CE), Pandyan kings like Sundara Pandya (13th cent.), the Cheras, and the Hoysalas. From the fourteenth century onwards the kings of the Vijayanagar Empire took great interest in the temple. Their spiritual mentors included Kotikannikadhanam Lakshmikumara Tatadesikan, of the famed line of Tatacharyas who were custodians of this temple. Among the mammoth structures built during this period is the celebrated Kalyana andapa, verily a connoisseur’s delight. Each of the ninety-six pillars is exquisitely sculpted with innumerable figures. Some figures actually seem to be ready to leap towards us. Vishwamitra performing tapasya as Mena ka dances, a cat trying to catch a dove, Hanuman giving the signet ring to Sita, the battle of Krishna and Jambavan, Rati and Manmatha flying on their parrot and swan mounts, and ''gopika-vastrapaharana'' (stealing of the gopis’ clothes) are some of them. There are scenes from the Ramayana and also trick sculptures aplenty— like a figure with three faces, four hands, and four legs; four monkey faces on the bodies of two monkeys; and an elephant when seen from the front appearing as a bull from behind. The irresistible marvels of this mandapam include the hanging stone chains. All the links in a given chain, including the stone plate from which it hangs, have been cut out of a single block of stone! Who was this divine sculptor? Who knows!

This Kalyana Mandapam is immediately to the left from the Varadaraja Temple’s front gopuram, which rises to thirty metres with seven tiers topped by nine ''kalashas'' (rounded pinnacles). Immediately behind the mandapam is the sacred pond, Ananta Pushkarini. Aththi Varada (an icon of Varadaraja made of wood, said to be the original deity worshipped in the sanctum) rests in a silver box beneath the waters and is displayed once in forty years. On three sides of this pond are various shrines. Lakshmi Varaha in a tiny niche is verily a poem sculpted in stone. Other deities enshrined in this area include Ranganatha and Sudarshana.

Going towards the hill which forms the centre of the complex, is the place to offer first salutations—to Yoga Narasimha in a cave. The Hasti Hill rises above this cave and has the sanctum of Varadaraja at the top. Varadaraja is seen standing, facing west. The ''utsava vigraha'' (the image used for festive outings) of Varadaraja has marks on the face. The priest explains that these are due to the heat of the sacrificial fire from which the Lord appeared on earth. For just a few minutes one takes in the scene, and then the veils of history enclose us to recreate a very different world. How many are the mystic dramas that have been enacted in this tiny space!

Sri Ramanuja’s formative years were spent here as a student. One of his teachers was Tirukachchi Nambi. Nambi’s duty was to wave the chowry for the deity in the sanctum. Belonging to the trader caste, Nambi was the very image of humility. So pure was his devotion that the Lord would have a dialogue with him whenever they were alone. We are assured by legends that one day Nambi was able to get answers directly from the Lord for the questions that had been troubling Sri Ramanuja. Other spiritual luminaries associated with Varadaraja are Nadathur Ammal, Kuresha, and Vedanta Deshika.

Kuresha (Srivatsanka Mishra) was the earnest disciple of Sri Ramanuja who saved his master from an inimical Chola king. But he was himself imprisoned and had his eyes gouged out. When he was released and went to his master, Sri Ramanuja asked him to go and pray at Kanchipuram, since Varadaraja was an unfailing giver of boons. It is true Kuresha lacked physical vision to see the deity, but Varadaraja was a familiar presence to him, as he had grown up in Kuram, close to Kanchipuram. So Kuresha went to Kanchipuram, stood before the Lord in the sanctum, and offered his supplication through one hundred and two verses that became famous as the ''Sri Varadaraja Stava''. We are told that when he was actually reciting the poem, the deity grew compassionate and asked him to choose a boon. Though Sri Ramanuja had hoped that Kuresha would ask for the restoration of his eyesight, the humble sadhaka wanted only ''paramapada'' (supreme beatitude) for the one who had harmed him: ‘The ananda that I am going to gain must be the portion of Naluran also!’ (It had been under the instigation of Naluran that the king had turned inimical towards Sri Ramanuja and passed the order to gouge out Kuresha’s eyes.) Touched by the devotee’s kindness even to an enemy, Varadaraja gifted him the ability to perceive his divine form as also that of Sri Ramanuja. The radiant poem by the aged devotee is couched in easily sung Sanskrit. A magnificent description of Varadaraja marks the opening:

May the Lord who has been described as unequalled and peerless by the accents of the Upanishads, Hari who is atop the Elephant Hill, always grant me the good.
I surrender unto him who is a treasure to Lakshmi-Perundevi Thayar, a shoreless treasure unto those who seek his help, one who has vowed to grant the purusharthas desired by devotees, who is ever concerned with the well-being of all living beings, whose treasure is compassion, the king of all, the lord of immortals.

Having assured himself and all those who would read the ''stotra'' (hymn) as a manual of sadhana that Varadaraja is the never-failing goal, Kuresha seeks to image the Supreme Being verily as a Self-created Brilliance on the Hastigiri, and surrenders to the hill itself for having made this image hailed in the Vedas perceptible to human sight.

Vedanta Deshika was the author of several ''stotras'', the epic'' Yadavabhyudaya'', and the drama ''Sankalpa-suryodaya'' in Sanskrit. At the same time he had an unrivalled mastery of Tamil and was immersed in the hymns of the Alvars. Once, the traditionalists of the Varadaraja temple objected to his reciting Tamil hymns in the ''prakara'' (circumambulatory path around the shrine). Vedanta Deshika argued with them and won the day. He then wrote the poem Tiruchchinnamalai in praise of Varadaraja that is recited whenever the Lord is taken out in procession.

Just outside Varadaraja’s sanctum and towards the right in the ''prakara'', is the twin lizards in the eastern corner. This is a very popular sight and is considered sacred. Etched on the roof are two lizards with two circles that seem to represent the sun and the moon. Legend says that these lizards were originally brahmana boys. Once they went to the forest to bring water for their guru, Rishi Gautama. They inadvertently left the pot uncovered, and when Gautama wanted to use the water, out leapt a lizard. The reship cursed his disciples to be born as lizards for a while for their carelessness. Aft er they were released from the curse, Indra had a gold and a silver lizard made, and announced that whoever stands in this corner marked by the lizards and looks at the Hastigiri will get the merit of having recited Hari’s name on an ''ekadashi'', the auspicious eleventh day of the lunar fortnight.
[[image:Lizard.jpg|thumb|The auspicious lizards]]

Coming down the steps, is the location to offer salutations at several shrines to such divinities as Dhanvantri, Malayala Nachiyar, and Perundevi Thayar (Goddess Mahadevi). Perundevi Thayar is a very noble presence who never fails to grant a sincere prayer. It is said that once Vedanta Deshika wanted to help a young brahmacharin who needed money to get married. When he composed and recited the ''Sri Stuti'' in the presence of Perundevi Thayar, there was a shower of gold. We now climb down to level ground and then go around another huge ''prakara'' which has niches to acharyas like Nammalvar, Ramanuja, Varavara Muni, and Vedanta Deshika.

Apart from Varadaraja’s temple, Kanchipuram’s Vaishnava ambience includes several other renowned elements of history, architecture, and literature. There is the temple at Urakam where the ''mulavar'' (main deity) is Trivikrama in a massive sculpted image. He has both his hands stretched sideways and the left leg lifted upwards in the act of measuring the skies. In the same temple, a visitor can salute three deities that were not originally residents of this temple: Jagadishwar of Tirunirakam, Karunakara of Karakam, and Karvana Perumal of Tirukarvanam. In times of political disturbance these images were brought here for safe custody and have remained here ever since. A little distance away from the front of this temple is a popular shrine to Chaturbhuja Anjaneya. Among other sacred places that are associated with Vaishnava presence in Kanchipuram are Tiruvehka (with Yathokathakari as the deity), Ashtabhuyakaram (Gajendravarada), Tiruthangal (Dipa Prakasha), Tirukalvanur (Adivaraha), Tiruvelukkai (Narasimha), Tirupadakam (Pandavaduta) and Tirupavalavannam (Pavalavannar).

While all these temples have somehow survived the onslaughts of time thanks to the unswerving faith of the devotees, it is Parameshwara Vinnakaram which is talked about much for its history and art. Situated within a kilometre of the Kanchipuram railway station, this is one of the most ancient Vishnu temples. It is built in sandstone with an admixture of granite. The place was originally a math and was used by pilgrims on their way to Banaras. The present structure was built by the Pallava king Parameshwaravarman (also known as Nandi-varman II) in the eighth century. It has three sanctums, one above the other. Vishnu is in the ''asana'' or sitting posture (Vaikuntha Perumal) in the sanctum on the ground floor, in the ''shayana'' or reclining posture (Ranganatha) on the first floor and in the ''sthanaka'' or standing posture (Paramapadanatha) on the second floor.

There are innumerable legends concerning this temple, which has been sanctified by the hymns of Tirumangai Alvar. According to one of them, Parameshwaravarman was gifted as a baby to his parents by the Lord himself, who came to them in the guise of a hunter. Since he grew up drinking the milk of elephants, he is said to have presented eighteen elephants to this temple.

What takes our breath away in this temple is the unending series of sculptures in the ''prakaras''. Having been carved out of sandstone, they are crumbling, but restoration work by the Archaeological Survey of India (ASI) has done marvels. One is left dumb with astonishment at the chisel of the sculptor that has created a video effect through several series: the battles between Pallavas and Chalukyas; the destruction of Hiranyakashipu by Narasimha; the killing of Narakasura by Krishna; the slaying of Vali by Rama; the events concerning the birth of Parameshwaravarman, his coronation, and the Lord teaching the king all the shastras are some of them. The Pallavas were fond of performing the Ashwamedha sacrifice and this too has been illustrated. One can even see a pilgrim from China carved on the wall.

In more recent history, Krishnadeva Raya of Vijayanagar provided amply for the upkeep of the temple. At present it is under the control of the ASI. Just beside the temple there is a mosque. The mosque shares the tank of the ancient temple, underlining the tolerant attitude that prevailed here.

[[image:Varadaraja_Perumal.jpg|thumb|Sri Varadaraja Perumal]]
Kanchipuram is inexhaustible. One is simply overwhelmed by the legends, history, and historical monuments in the city and its environs. The city appears to be a crucible in a divine laboratory. Religion and spirituality are seamlessly woven into secular life even today. The presence of several maths needs to be mentioned in this context. These include the Tondaimandala Adhinam, which is Shaivite and is headed by Sri Jnanaprakasha Deshika Paramacharya; the branch math of Tiruvavaduthurai Adhinam headed by Sri Sundaramurti Tambiran; the Upanishad Brahmendra Math, which has a famous icon of Dakshinamurti; and of course the Shankara Math guided by its pontiff , Acharya Sri Jayendra Saraswati. We also have now the Sri Ramakrishna Math at Karaipettai that is working ceaselessly for the strengthening of the bases of education, culture, religion, and spirituality that have made Kanchipuram famous for several millennia and drawn from Kalidasa the priceless compliment: ‘As is jasmine amongst flowers, Vishnu amongst men, Rambha amongst women, so is Kanchi amongst cities!’

'''Note'''

1. Varadaraja is said to have risen from the sacrificial fire at the yajna performed by Brahma on the banks of the Vegavati river.

== References ==

{{ reflist }}

* Originally published as "Kanchipuram, the Four-fold Glory" by Prabhuddha Bharata [https://advaitaashrama.org/pb_archive/2007/PB_2007_May.pdf May 2007], [https://advaitaashrama.org/pb_archive/2007/PB_2007_June.pdf June 2007], [https://advaitaashrama.org/pb_archive/2007/PB_2007_July.pdf July2007] and [https://advaitaashrama.org/pb_archive/2007/PB_2007_August.pdf August 2007] editions. Reprinted with permission.

Kanchipuram

2010-06-05T15:09:16Z

K. Ravindranath:

By Dr Prema Nandakumar

Pushpeshu jati, purusheshu vishnu;
Narishu rambha, nagareshu kanchi.

This jingle is attributed to Kalidasa. He was certainly a connoisseur of places and might have seen enough of Kanchipuram more than a millennium ago to come up with this crisp verse. Certainly, for over two thousand years, Kanchipuram has been laying down layers of the finest in culture. Even though these earlier days have largely to be surmised, there is plenty of historical documentation about the Pallavas and Cholas, who had a big hand in building the city and its environs.

The original name of Kanchipuram was Kachchi Managar. There have been different interpretations of the word ''kanchi''. The Sanskrit term denotes a woman’s waist-girdle. This place was also known as Tondaimandalam in ancient Sangam literature in which it is referred to as a forest of kanchi (river portia) trees. The city itself is referred to as Kachchi in works like ''Manimekalai''. It is located on the Palar River. The famous Sangam classic ''Perumbanatruppadai'' describes Kanchi and its king, Ilamtiraiyan:

<blockquote><poem>
Flanked by its belt of defensive jungle is that city
Whose doors are never closed to those who seek the prize.
Lovely like the pericarp of the many-petalled lotus /
The navel of the dark-hued Lord …<ref>"Perumbanatruppadai," Translated by N Raghunathan.</ref>
</poem></blockquote>

== Buddha Kanchi ==
Kanchipuram’s socio-religious presence is marked by a four-fold glory. Even today, people are drawn not to a monolith but a four-in-one city: the Buddha Kanchi, the Jina Kanchi, the Shiva Kanchi, and the Vishnu Kanchi. All of them have histories stretching back at least a couple of millennia with the Buddhist faith being the earliest to have laid foundations at Kanchipuram.

According to the Girnar inscription of Emperor Ashoka, it is known that by the third century BCE Buddhism had registered its presence widely in South India.<ref>‘…within Beloved-of-the-Gods King Piyadasi’s domain, and among the people beyond the borders the Cholas, the Pandyas, the Satiyaputras, the Keralaputras, as far as Tamraparni and where the Greekking Antiochos rules, and among the kings who are neighbors of Antiochos, everywhere has Beloved of-the-Gods King Piyadasi made provision for two types of medical treatment: medical treatment for humans and medical treatment for animals. (English rendering by Ven. S Dhammika.)</ref>Some of the Tamil Sangam works like ''Natrinai'' and ''Madurai-k-kanji'' have references to Buddhism. For instance, the latter describes women going to a Buddhist vihara for worship:

<blockquote><poem>
Young women held fast to themselves
Little children ornamented with jewels
So they would not be lost; kissing them
And holding firmly their hands
That appeared like pollen-rich lotus buds,
They stood there, carrying flowers for worship,
And scented smoke, singing the glory
Of their Lord in that Buddha vihara …<ref>The Tamil term ‘Katavut Palli’ has been explained as a temple to Buddha by scholars.</ref><ref>Madurai-k-kanji, Translated from Tamil by Prema Nandakumar</ref>
</poem></blockquote>

[[image:Buddha_On_Ground.jpg|thumb|Buddha on the School Ground]]
Significant parts of ''Manimekalai'', a Buddhist epic from the later Sangam age, take place in Kanchipuram. Manimekalai is a dancer who becomes a nun. She obtains the Amuda Surabhi (nectar vessel) which produces food without end. This she uses for per-forming charity. In the course of her travels, she is directed by her grandfather Masattuvan to go to Kanchi, as the city had been devastated by a drought. When she goes there, she finds a temple to Buddha at the very centre of the city:

<blockquote><poem>
With her heart full of compassion, the maid
Went around the fort rightwards, and got down
Into the central part of the city.
She prayed at the temple built by the king’s brother
To Buddha, who had sat under the Bodhi tree
Which had golden branches
And fresh green leaves rivaling emerald.
</poem></blockquote>

The king builds a garden in honor of Manimekalai’s coming to help his people. Delighted, Manimekalai makes him build a lotus seat for Buddha. She then places the Amuda Surabhi on the lotus seat and welcomes all living beings to gather to be fed. It is an unforgettable scene in which all the marginalized, the hungry, the defeated, and the maimed come to her for succour:

<blockquote><poem>
Like life-giving sustenance for those who ate,
Like the result of giving alms to ascetics,
Like the yield when the seed is sown with thought
To water, earth, season, and work in the fields,
Like rains that fall to help the earth’s yield,
Was the maid compared and thanked by people
Whose hunger-sickness had been cured by her.
</poem></blockquote>

She then meets her spiritual teacher, Aravana Adikal, who instructs her in the Dharma. Her mind illumined, Manimekalai dedicates herself to the ideal life that leads to salvation.

[[image:Buddhar_Alayam.jpg|thumb|Koneripakkam:Buddhar Alayam]]
Is this all an epic tale and no more? I realized that the very ancient Buddhist past is very much present in today’s Kanchipuram when I went to Arappanancheri, where the sage Aravana is said to have spent the latter part of his life. Today the place is known as Arapperumchelvi Gramam (the place of the Maid of Great Charity). I went into the local temple, which had a huge pipal tree in front. With-in was the goddess Paranjoti Amman. The striking thing about this temple is a plaque proclaiming the following statement in Tamil: ‘From time immemorial this village has not allowed sacrifice off any life.’ This plaque bears witness to the area having been Buddhist from early times.

[[image:Bodhidharma.jpg|thumb|Bodhidharma brought Buddha’s teachings to China; here he graces the Koneripakkam temple]]
History records the names of several great Buddhists of Kanchipuram who spread the Dharma all over the world. Buddhaghosha (fifth century CE), along with the monks Sumati and Jotipala, lived in Kanchi. Aniruddha, author of ''Abhidhammatthasangaha'', lived in the Mulasoma Vihara. A Pallava king named Buddhavarman apparently built many viharas. Even today one can walk across a Buddheri street. But one has to peer into unlit corners for vestiges of the Buddhist past. A Buddhist statue on a pillar at the Kachabeshwara temple, a piece of what once was a stupa found in a field … and the mind races back to the brilliances that had once adorned Kanchi.

Acharya Dharmapala, who entered the Sangha on the eve of his wedding, lived in Patatitta Vihara built by Ashoka near Kanchipuram. He wrote Pali commentaries for some of the Tripitaka texts. He taught at Nalanda University but died young at the age of thirty-two. Ashoka’s closeness to Kanchi has been recorded by Hsuan Tsang, who says that a Buddhist stupa built by him was still standing four centuries later. Deepankara Tero, author of the Pali work ''Bhujja Madhu'', lived in Balatissa Vihara in Kanchi. Ananda Tero of Kanchi was taken by Saddhamma Jotipala to Burma to spread Buddhism there. There are other revered names associated with Buddha Kanchi: Venudasa, Vajrabodhi, Sariputra … And among the most famous Buddhists of ancient Kanchi are Dignaga and Bodhidharma. Hsuan Tsang, who visited Kanchipuram in the seventh century CE, records that there were one hundred monasteries with ten thousand monks belonging to Teravada Buddhism following Dignaga’s yoga. Dignaga (fifth century CE) was a native of Kanchi and was born in Simhavaktra (Seeyaman-galam). His ''Hetuchakra'' (Wheel of Reason) inaugurated Buddhist philosophical logic. Bodhidharma (fifth century CE) was a Brahmana prince of Kanchi who became a Buddhist and was trained in the techniques of meditation by Prajnatara. He went to China during the Sung rule. Emperor Wu was not pleased with the manner in which Bodhidharma couched his answers. It is said the Indian monk shut himself up in a Shaolin temple in Honan Province and emerged after nine years with two books. One of them was the famous ''I Chin Ching''.

Bodhidharma is considered the founding father of Zen Buddhism. Inspired by the Vajramushti technique prevalent in India, he taught martial arts to the Chinese (well known as the Shaolin martial arts) and also how to control the breath to strengthen the blood and immune system, energize the brain, and attain enlightenment. He is today revered by various names like Bodhitara, Ta-mo, and Bodhi Daruma. He passed away around 534 CE.

[[image:Bodhi_Nagar1.jpg | thumb|Bodhi Nagar—‘Never for himself: for the good of the world’]]
One has to mention in the same breath that by the eleventh century Buddhism was very much on the wane in Tamil land. Sectarian disputes and the decadence of Buddhist institutions brought this chapter to a close. As early as the seventh century, the Pallava king Mahendravarman had issued a warning to the monks of Kanchipuram in his farce ''Matta-vilasa-prahasana'' (Tale of the Drunken Monks). A religion that had established monasteries all over Tamil Nadu, made an undeniably strong presence in the neighbouring Andhra country, and initiated a way of life that had percolated to the tiniest villages in the countryside was reduced to a distant memory with dizzying speed.

[[image:Bodhi_Nagar2.jpg | thumb|Bodhi Nagar]]
So it was not surprising that no one in Kanchipuram could show me around Buddha Kanchi, because there is none present. Other layers have been spread out over what was once a vast complex of Buddhism and Buddhist art and architecture. Wandering in search of artefacts, though, one was not disappointed. Some of the goddess sculptures in the Kamakshi temple have been identified as that of the Buddhist Tara Devi, and it was in this temple that a Buddhist stupa be-longing to the second century BCE was discovered. T A Gopinatha Rao found a standing Buddha sculpture in the innermost corridor of the Kamakshi temple in 1915. This seems to have been shifted to the Madras Archaeological Museum. A Buddha sculpture unearthed near the Ekambreshwara temple is now kept in the adjacent police station. Flower and incense offerings indicate that the statue is held in veneration. It was also cute to find that a devotee had applied an artistic circlet of sandal paste with kokum to the Buddha’s forehead.

Even today, there are quite a few discoveries at hand to keep one inspired. In the Subarea Mudaliyar School Ground there is a massive Buddha seated in meditation, presiding over a class held in the open by the teacher, Hari Kumar. You could not find a nobler scene for your camera! Buddhism has had a revival in these parts thanks to social reformer Ayoddhi Dasar, who sought to give voice to the underprivileged Dalits. I was happy to go to Koneripakkam to visit a newly built shrine. Kannivel showed me around. The place was neat, and there were ''kolam'' decorations in front. At the entrance to the modest structure is a Buddha figure on a broken pillar. I was told it had been retrieved from a nearby place that was being dug up to build a Muslim dargah. The sanctum had a Buddha figure along with a bell, a cup of water, and a plate for ritual worship. Bodhidharma’s portrait, gifted by a devout Korean, looked down benevolently from the wall. A Buddha head in a glass case conveyed an amazing sense of peace. It had been found under an uprooted pipal tree. Kannivel told me that the entire space was once definitely a Buddhist monastery.

‘Should it always be “once upon a time” for Buddha in Kanchi?’ I sighed. Immediately my guide assured me that there is a shining future for Buddhism and asked if I would go over with him to Bodhi Nagar. Near Vaiyavur Road and across a bit of slushy ground, is a very clean and peaceful place. Entering it I bowed at the flagstaff and walked a few steps to the Bodhi tree surrounded by a wall built in the Sanchi style. Founded by Ven. Divyananda, the Mahamuni Society is trying to return to the monastic style popularized by the Buddhists two millennia ago. In the shrine there is a statue of Buddha sculpted in Mahabalipuram. The tranquil atmosphere took me back to the epic ''Manimekalai'', and I walked out reciting Sutamati’s prayer—

<blockquote><poem>
Our Lord, self-taught, the essence of faultless things,
Incarnating in nature’s several forms,
Always living for the good of others,
Never for himself: for the good of the world
His penance, with the idea of Dharma.
Hence his rolling the wheel of Dharma rays.
He won victory over desire; Buddha’s feet
Shall I praise, my tongue shall naught else do.
</poem></blockquote>

== Jina Kanchi ==
If the Buddha Kanchi of yore cannot be pinpointed today, Jina Kanchi, fortunately, has to itself an allowed area where two temples have stood witness to the rise and fall of dynasties for over a millennium. Jainism seems to have come to Tamil Nadu even earlier than Buddhism because it is associated with Chandragupta Maurya’s retirement in Karnataka. It is widely believed that when his kingdom was devastated by a famine, Chandragupta renounced his throne on the advice of his spiritual preceptor Bhadrabahu and travelled to South India. Settling down in Karnataka, he is said to have taken to ''sallekhana'' (the Jain ascetic tradition of giving up one’s body by renouncing movement and eating). The work of master and disciple in furthering the cause of Jainism in South India must have been very deep indeed. The place where they stayed became the Shravanabelagola of later times with the erection of the magnificent monolithic statue of Gomateshwara. Jainism spread well and seems to have entered Kanchipuram not long after Chandragupta’s passing.

Though the age of Jainism in Tamil Nadu has not been exactly determined, it does have a very ancient presence stretching back to the Sangam era. The monks belonging to the religion were known as ''samanas'' (from Sanskrit ''shramana'') and the householders as ''savakas'' (or ''shravakas''). Because the monks were an obvious visible presence as teachers, the pathway came to be known as the Samana religion. The monasteries were known as Samana palli (like the Buddhist vihara) and functioned as organized educational institutions. Kanchipuram, being the capital of the Tondaimandalam area (which once included Chennai, Tiruvellore, Vellore, and Tiruvannamalai) was not insulated from this sweep of Jainism all through South India.

The Pallava king Simhavishnu, who ruled from Kanchipuram, was a follower of Vaishnavism, but he did not look down upon other religions. His son Mahendravarman (seventh century) was drawn to Jainism early in life. The wonderful cave temple at Sittannavasal is attributed to his munificence. Located in the Pudukottai area, the cave has frescoes on Jain spiritual themes like the Samavasarana (divine pavilion) Lake. It is significant that Mahendravarman’s drama, ''Matta-vilasa-prahasana'', which is a satire on the ways of the Pashupatas, the Kapalikas, and the Buddhists, avoids any criticism of Vaishnavism, popular Shaivism, or Jainism.

Literature has kept alive some of Jainism’s old connections with Tondaimandalam. The author of the Jain epic ''Chulamani'' is associated with Karvetinagar near Tirupati. At a distance of ten miles from Kanchipuram is Tirupanambur, where the Jain acharya Akalanka lived. He is said to have defeated the Buddhists in a debate in the court of King Himasitala of Kanchi. The eminent Jain commentator Suranandi lived in Tiruparuttikunram. ''Merumandara Puranam'' is the legend of the two assistants of the thirteenth Tirthankara, Vimalanatha. This narrative in thirteen cantos about the princes Meru and Mandara is attributed to Mallisena Vamana (fourteenth century) who lived in Kanchipuram. The impressions of his feet and those of his disciple Pushpasena are honoured in the Chandraprabha temple atTiruparuttikunram in Kanchi. Mallisena’s Purana upholds Jain thought with crystalline clarity:

<blockquote><poem>
If you wish to act, perform dharma.
If you wish to renounce, renounce anger.
If you wish to see, look at knowledge.
If you wish to guard, protect your vows.
</poem></blockquote>

Curiously, the work firmly states that women cannot achieve realization:

<blockquote><poem>
Those placed in the four states of being due to fate
By their inner aspiration are born as humans,
And perform charity, worship, and tapasya,
And get beyond the states to moksha: not so women.
</poem></blockquote>

Mallisena has also written a commentary for the epic ''Nilakesi''. Udisi Devar, who authored ''Tirukkalampakam'' and ''Arungalacheppu'', was the head of Arpakai village in Tondaimandalam. His ''Tirukkalampakam'' is an amazing attempt to take in the whole of the religious symbolism of his time and make them all represent the Arhat. He is Shiva, Brahma, Muruga, the lord who rested in the midst of the milky ocean, and even Shakti. Towards the end, Udisi Devar speaks in a voice which must have gone down well with the devotees, for already the Jain pantheon had a vast array of gods and goddesses:

<blockquote><poem>
Praising the beloved of the Lord,
The mother who gave birth to this earth,
Eternal Virgin, the goddess who sustained
Dharma; from her have blossomed forth
The six religions; the Self-create;
The one lamp illumining creation;
One who is an enemy to the disease of our birth;
The divine foster-mother who gives unstintingly
Her compassion to all living beings;
The chaste one who speaks in sublime accents;
A creeper of ananda; a flame of wisdom;
The medicine that cures the fever of the senses.
Thus do the tapasvins praise, when they worship
The auspicious feet of the Arhat.
</poem></blockquote>

No wonder one who is used to worshipping in Hindu temples does not feel a stranger in ''jinalayas''. Unlike Buddhism, the Jain religion seems to have given a very important place to temple worship. Jain temples, and the rituals held therein, are described in epics like ''Jivaka Chintamani'' and ''Chulamani''. While the former has detailed descriptions of temples to the Arhat and even of a Kama Kottam (temple to Kama), the latter has a ‘Canto on Renunciation’ in which King Bayapati conducts worship in a Jina temple with scent, flowers, and water. He circumambulates the sanctum and recites a ten-verse prayer to the Arhat. While Vedic religion gave importance to yajna, and Buddhism frowned upon image worship, Jainism was for the consecration of holy images from the very beginning. Stone and metal were the favourite media; the paintbrush was also wielded with finesse. The first in the field, the Jains mastered sculpture and metal casting over two millennia ago, making the ''jinalayas'' treasure troves of devotional art.

[[image:Samavasarana.jpg|thumb|A Samavasarana]]
Such temples were obviously innumerable in the first millennium. Today one goes in search of them with almost a hopeful hopelessness clutching one’s heart, remembering the poem by Sister Nivedita:

<blockquote><poem>
We hear them, O Mother!
Thy footfalls,
Soft, soft, through the ages
Touching earth here and there,
And the lotuses left on Thy footprints
Are cities historic,
Ancient scriptures and poems and temples,
Noble strivings, stern struggles for Right.
</poem></blockquote>

Two temples of Jain Tirthankaras built in the ninth century in Tiruparuttikunram, near Kanchipuram are still intact. One is a temple to the eighth Tirthankara Chandraprabha, and it is believed that Nandivarman Pallavamalla, king of Kanchipuram, built it. The adjacent Trailokyanatha temple has Mahavira as the main deity in the sanctum. Apparently the land was gifted to the Jain community by King Simhavishnu and his queen as early as the fifth century. Much later, Parakesarivarman Chola and Kulo thunga Chola granted whole villages to Jina Kanchi. Emperor Krishnadeva Raya, who did much to save Hinduism from Islamic depredations, also contributed handsomely to the temple to help restoration works in the seventeenth century.

[[image:Sri_Trailokyanatha.jpg|thumb|Sri Trailokyanatha]]
As I get to see these temples, I find it hard to believe that they are under the control of the Archaeological
Survey of India. An ancient lady, Padma, seems to be the caretaker; she willingly opened the main entrance after asking us sternly to deposit our cameras back in our car, while loudly complaining about how difficult it was to keep stray cattle and prowlers from entering the temple and desecrating them. The main door opens to a vast ''parikrama'' (circumambulatory corridor) and immediately before me is a ''dhvajastambha'' (flagstaff ) and ''balipitha'' (sacrificial altar). Going up a few steps is the Sangita Mandapam (musical hall) established by Irusappar, a Jain monk. The ceiling, held up by four rows of pillars, is full of paintings. Craning my neck upwards, I gaze at an astonishing sight. Though many of the paintings are faded, there are still plenty of them that create an illusion of movement: so many young women walking, young men carrying pitchers, elephants, horses. There is the painting of a Samavasarana lake in which the devout bathe before proceeding to listen to the wise. At the very centre of the huge circular lake, with four stepped pathways converging from the four directions, is the seated figure of the acharya. There are also serial paintings depicting incidents from Mahavira’s life. Some of the paintings seemed to be about the life of Dhivittan depicted in ''Chulamani''. Dhivittan’s life has close resemblance to the saga of Krishna.

Wedged between the mandapam and the sanctum is the strong room where several ancient images of Arhats made of marble or bronze have been kept in safe custody. Some of the images are of gods and yakshis of Jain theology. The temple has huge open spaces, and a shrine nearby has the image of Arhat Pushpadanta installed in its sanctum. Going around the temple, one may well visualize King Bayapati’s reverence as he intoned the ''Chulamani'' prayer:

<blockquote><poem>
You have spread as light, this earth;
The earth is enveloped in your light.
Your reign brings grace to living beings;
Even the world of gods seeks your feet;
You have explained the eternal Truth;
Truth blossomed forth according to your will.
Recognizing the glory of your feet is Truth.
Once this is known, all else becomes clear.
</poem></blockquote>

In this context it would be well to remember Munaipadiyar’s ''Aranericharam'', which has a verse that sought to clear the confusion in the minds of common people regarding various religions, at a time when temple structures were coming up very fast:

<blockquote><poem>
Do not worry that He is this person, or that.
Meditate upon Shiva. The god Shiva
And the Lord with the triple umbrella
Beneath the shade of the Ashoka tree
Are both the same.
</poem></blockquote>

There is then the prayer from ''Tottira Tirattu'' (Anthology of Prayers) dedicated to the Arhat at the Trailokyanatha temple:

<blockquote><poem>
As the immortals ruling over the skies,
As the sub-humans in charge of the netherworlds,
As humans who enter the prison of the womb,
As animals and as ever so many forms
Have I taken birth for a long, long time
And suffered; I have now reached your temple
Auspicious, hoping to be rid of this cycle of birth.
O Mountain of molten gold
At holy Tiruparuttikunram near Kanchi!
</poem></blockquote>

== Shiva Kanchi ==

[[image:Kama_Kodi.jpg|thumb|Kama-kodi, protecting Ekambareshwara from the flood]]
We call the area Shiva Kanchi, of course. But Goddess Kamakshi takes precedence in Kanchipuram! The temple is spread over an area of about five acres; the gleaming golden vimana of her temple attracts one’s attention immediately. Historians say that separate shrines for the goddess who was worshipped as the consort of Ekambareshwara were built only from the twelfth century onwards. The temple of Kamakshi, also known as Kamakottam, obviously began as a Shakta centre (for worship of the Mother Goddess). Archaeological studies however claim a much earlier origin to the temple as one for a Jain Yakshi, when the holy place was known as Vimala Tirupalli.

[[image:Kacchapeshwara_Temple1.jpg|thumb|Kacchapeshwara Temple: detail (with the ecumenical presence of Garuda, Hanuman, and Nandi)]]
The importance of Kamakshi for Shiva Kanchi may be traced to the Puranic narrative which says that she was originally worshipped as the consort of Ekambareshwara, being part of him in the Ardhanarishwara form.<ref> For further information on the subject see R Venkataraman, Devi Kamakshi in Kanchi (Srirangam: Vani Vilas, 1973). </ref> According to the ''Kanchi Purana'', Parvati once covered the eyes of Shiva in Kailasa, thus plunging creation into darkness, and consequently inviting a curse. She expiated her guilt by taking human birth and undertaking tapas, worshipping a linga made of sand. When the nearby river was in food, she embraced the linga to guard it against the rising waters. Hence she is ''kama-kodi'', the loving creeper that has entwined herself round the Lord. In the course of evolution of her worship, the goddess began to be worshipped as the Durga of Kamakottam (the old temple), and later the present temple of Kamakshi was raised on what was apparently a Jain temple dedicated to a Yakshi.

[[image:Kacchapeshwara_Temple2.jpg|thumb|Kacchapeshwara Temple: Nandi Mandapam]]
The glorious city of Kanchi was put to the sword by the Islamic general Malik Kafur in the fourteenth century. Idols were broken down. The Kamakshi temple was one of the major victims. As in other Kanchi temples, worship was stopped in the Kamakshi temple too for several decades, till Kumara Kampana of Vijayanagar drove out the Muslim invaders and restored religious ritual. From then on, the Vijayanagar kings took good care of Kanchi, and Emperor Krishnadeva Raya loved visiting this great city.

The Kamakshi temple today is at the very centre of the city, with the Ekambaranatha temple to the north-west and the Varadaraja temple to the south-east. It is interesting to note that all the major temples in the city are structured to face the prominent temple of Kamakshi with its four spires. The seated Kamakshi is a noble image, and to her front is the Sri Chakra in which the Mother Goddess is said to reside in her subtle form.

[[image:Kacchapeshwara_Temple3.jpg|thumb|Kacchapeshwara Temple:Buddhas in bhumi-sparsha mudra on a column]]
This city is rich in legends. We are told that originally Kamakshi was the fierce form of the supreme Goddess—''ugrasvarupini''. It was Adi Shankara who installed the Sri Chakra, which contained the ferocity of the goddess and transformed her into the calm and beautiful ''brahmasvarupini''.

Kamakshi’s residence in her ''brahma-shakti'' form is in a cave below. She is said to have appeared on earth once to destroy demons, including the notorious Bhandasura. The Tapas Kamakshi (goddess undergoing tapas to expiate the sin of having closed the Lord’s eyes) has also been placed in the sanctum. Coming out of this garbhagriha, on the left is Kamakshi’s attendant Varahi. To her front is the ''santana stambha'' indicating the place where King Dasharatha gained the boon of progeny from Goddess Kamakshi. In the first ''prakara'' (circumambulatory path) is the niche of Dharma Sastha (Ayyappan) with his consorts Purna and Pushkala. Tradition avers that Karikala Chola worshipped this Sastha, who gave him the deadly weapon called Chendu which ensured his victory in the Himalayan regions. Tough it is mistakenly indicated in the niche that Sastha gave a bouquet of flowers (''poo-chendu'') to Karikala Chola, the fact that Sastha is represented with the typical Chendu weapon in his hands provides the right pointer.

[[image:Kacchapeshwara_Temple4.jpg|thumb|Kacchapeshwara Temple:Niches on the outer wall]]
One can never exhaust Shiva Kanchi. There are innumerable temples dedicated to Shiva here, and one can wander into any one of them and remain absorbed in the visuals as well as the devotional fervour evoked by aspirants going there for worship. Since Kamakshi reigns supreme in Kanchi, none of the Shiva temples have a separate shrine for the goddess, though an image is kept for ceremonial (''utsava'') processions. Many of the temples are thought to be several hundred years old. For instance, facing the western gate of the Kamakshi temple, is the Makalishwara temple, said to be the special residence of Rahu and Ketu. A snake called Makala attained mukti by worshipping Shiva in this area, and hence prayers are offered at the foot of the twin trees of neem and pipal, where a Naga has been consecrated.

[[image:Kailasanatha_Temple1.jpg|thumb|Kailasanatha Temple: Shiva and Parvati]]
Going out of the southern gate of the Kamakshi temple, is the celebrated Kacchapeshwara temple. As the presiding deity is mentioned in the seventh century classic ''Dandi Alankara'', the temple is very old. Legend speaks of Mahavishnu in his tortoise form worshipping Shiva at this place. Apart from the sanctity of the temple, what strikes one most is a series of Buddhist figures on the stone pillars of an inner mandapa. It is obvious that these pillars have been taken from a Buddhist vihara. Perhaps the vihara was the original structure and when it came down to make way for a Shiva temple several centuries ago, some of the masonry was reused by the builders.

[[image:Kailasanatha_Temple2.jpg|thumb|Kailasanatha Temple: Nandi]]
There are other Shiva temples like Suragaresha, Siddhishwara, Manikandeshwara, and Ramanatheshwara. The one to Lakulishwara (Dhavaleshwara) is associated with yogis and siddhas. It is quite obvious that from the seventh century onwards, when the Nayanmars went round singing their mellifluous songs on Shiva, there was a tremendous spurt in temple-building activity. Though the corpus of devotional hymnology pertaining to Shiva Kanchi is vast, only five temples have been hailed by the Nayanmars in their hymns. They are Ekambareshwara, Tirumetrali, Onakan-thanthali, Anekathankavatam, and Kachinerikkarai-kadu. Thus Tirunavukkarasar worshipped Ekambareshwara and the goddess Elavarkuzhali with an exquisite decad:

<blockquote><poem>
He is the God of Dissolution; He is the King who smote Death;
He is earth; He became water of the earth; He is wind;
He is fire; He is rumbling thunder and lightning;
His is the glorious, coral-like ruddy body bedaubed
With white ash; on His crest floats the crescent; on His long
Matted hair He sports the Ganga of abundant water;
He is Yekampan of Kacchi girt with beauteous groves;
Behold Him, the one enshrined in my thought! <ref>Translated by T N Ramachandran.</ref>
</poem></blockquote>

Of the two major Shiva temples, Ekamabaranatha’s raja-gopuram, built by Krishnadeva Raya in the sixteenth century, rises to 192 feet. Originally planned and structured by the Pallava kings of Kanchi on a spread of twenty acres, this temple was further embellished by the Cholas and the kings of Vijayanagar. The deity here represents the element earth (''prithvi''). The consecrated tree is mango, and the guide assures me it is 3,500 years old. Why should I disbelieve him? For time stands still in these precincts, though there is a lot of renovation work going on. The famous shrine of Vikatachakra Vinayaka is in the Thousand Pillar Hall, and the pillars stand witness to the mastery of sculpture by the workmen of earlier centuries. Another important landmark is the temple to Subramanian known as Kumarakottam, which has been made famous by Kachiappa Shivachariar—whose epic Kanda Puranam was first recited in the mandapam of this temple.

[[image:Kailasanatha_Temple3.jpg|200px|thumb|Kailasanatha Temple: Kirata and Arjuna]]
The celebrated Kailasanatha temple was built by Rajasimha (Narasimhavarman Pallava II) and his son Mahendra III. If it is exciting to go into the smaller Shiva temples in Kanchi and wander around watching the sculptures and searching for Jain or Buddhist remains of an earlier era, or to keep gazing at the Buddhist figures in meditation on the higher reaches of an outer wall of a temple, it is an experience of a lifetime to enter the Kailasanatha temple at the periphery of the city. The sanctum has a huge linga, symbolizing the Supreme, while on the rear wall one can watch wide-eyed the sumptuous Somaskanda panel. Shiva and Parvati have Subramania between them (on the lap of his mother), with Brahma and Vishnu watching the group in adoration. The outer wall of the sanctum is an amazing panorama of gods and goddesses. In between the two walls is a very narrow passage for ''parikrama''. One has to crawl to enter it and also to come out of it. A few of us who had come to worship were invited by the officiating priest to go in with the tempting words: ‘This is the entry into heaven, the Swarga Vasal, and if you do the ''pradakshina'', it is like having another birth, along with Shiva’s grace.’

[[image:Kailasanatha_Temple4.jpg|200px|thumb|Kailasanatha Temple: Mahishasuramardhini]]
The temple, built in sandstone with nearly sixty planned niches, seems to be the work of gods. The intricate carvings of divine beings, a never-ending repeat of the Somaskanada panel, the mythic lions and the imposing Nandis have to be seen and experienced. Here is Vishnu holding up the Mandara mountain as gods and demons churn the ocean, a little away there is the confrontation between Shiva and Arjuna. Soon comes Shiva destroying Yama, and again dancing with a ''damaru'' in his hand in gay abandon. Nay, there is much more.

‘The cells of many of these contain traces of old paintings on plain walls or painted stucco over reliefs. The external reliefs of these ''parivara'' [family] shrines of the ''malika'' [cloister gallery] contain a variety of sculptures, both Saivite and Vaisnavite, of varied iconography, thus making this temple complex a veritable museum of iconography and plastic art. The sculptures include the ''dipkalas''[the guardian deities of the directions] and Ganesh, who makes his first appearance in Pallava temples, as also the Saptamatrika group, Chandesa and other ''parivara'' deities.’<ref>K R Srinivasan, Temples of South India (New Delhi: National Book Trust, 1991), 116.</ref>

[[image:Kailasanatha_Temple5.jpg|200px|thumb|right|Kailasanatha Temple: Descent of Ganga]]
There is a charming legend connecting the construction of this temple with Pusalar, a Nayanar whose history is recounted by Sekkilar. When the Pallava king Rajasimha had completed the splendid temple to Kailasanatha, an auspicious date for the consecration of the temple was chosen by his chief priest. However, the deity appeared in Rajasimha’s dream and said that the date of consecration would have to be changed as the Lord was to be present in the magnificent temple being consecrated by Pusalar in Tiruninravur (Tinnanur) at the same time. The king was mystified; how could a huge temple be built in his own kingdom without his knowledge? So he hastened to Tiruninravur. No temple was to be seen there. On making enquiries, he learnt that one poor brahmin, Pusalar, had been going around saying he was building a temple to Shiva and would daily announce the progress in the works. The king went to Pusalar and spoke to him of his dream. The poor devotee exclaimed: ‘Alas! I have built only in my imagination. Did the Lord re-ally take notice of my desire?’ The king saluted the devotee with reverence and returned to his capital. Pusalar’s sincerity became legendary, and he is honoured as the Nayanar of whom Sekkilar sings in his'' Periya Purana':'

<blockquote><poem>
Let us recollect Tiruninravur’s Pusalar
Who wished to build a temple to Shiva
But had not the wherewithal.
And how he built a temple in his mind. …
Having decided, he tried for money.
‘How shall I build without capital?’
He began collecting everything needed
To build, all in his imagination.
He got materials and carpenters,
Decided upon a date to lay the foundation,
Planned everything according to the Agamas
And built without sleeping even at night. …
He (the King) came to the place and asked
Those present: ‘Where is Pusalar’s temple?’
‘Pusalar has built none’, they replied.
‘Let all scholars come’, the king said. …
After consecrating Shiva in the mind-temple
At the auspicious time, and having performed
Worship for a long time after,
The devotee reached the feet of Shiva.<ref> Periya Purana, 65.1,5, 6, 12, 17. </ref>
</poem></blockquote>

The legend indicates the richness of the temple building activity of the times as well as the wide-spread dissemination of Sanskrit Puranas that led to the inextricable association of temples with the great Indian tradition.

For Shiva Kanchi, the Kanchi Kamakoti Math is a major Shaivite presence. Tradition avers that Adi Shankara went to the Himalayas and had the darshan of Shiva and Parvati. He brought the ''sphatika'' (crystal) linga given to him by Shiva to Kanchi where he established a monastery and installed the linga for regular worship. Among the pontiffs who graced the math in recent times, Sri Chandrasekharendra Saraswati, popularly known as the Paramacharya, took the math to great heights by initiating a resurgence of Indian culture. Vedic studies, renovation of temples, and traditional arts like sculpture and architecture have been given a great fillip. The math also provides medical help to the masses .

The Jnanaprakasar Math has done priceless service to Shiva Kanchi by propagating the Shaiva Siddhanta, probably the oldest tradition of its kind. Apart from ritualistic worship of the Meykandeshwara Linga, the math arranges lectures on philosophical and theological aspects of Shaivism, as propounded in the fourteen Meykanda Shastras. Well, who can exhaust Shiva Kanchi? One must go there again and again and again. And experience the calm of mind made passionless by the blue-throated Lord:

<blockquote><poem>
Like the faultless lute, the moon at night
The southern breeze, the brilliant spring,
The scented lake covered by humming bees,
Is the cool shade of my Lord Shiva’s feet.<ref>Tirunavukkarasar Tevaram, 90.1.</ref>
</poem></blockquote>

== Vishnu Kanchi ==
In the celebrated poem ''Vishwagunadarsha Champu'' by Venkatadhvari, the gandharvas Krishanu and Vishwavasu are found flying over India in an airborne vehicle commenting on various well-known pilgrim centres. Krishanu is always critical, but Vishwavasu can only see the good in everything. A very instructive and informative poem, the ''champu'' moves southwards from Badrinath to Chennai and thence to Kanchipuram. Vishwavasu gives a very warm description of the city, and salutes Varadaraja: ‘As we reach the Hasti Hill, we salute the Eternal Flame (''Dhama Sthiram'') which rivals Kamadhenu (the cow of plenty) and the “wish-yielding tree”, guards Indra and other deities, is holy, and has eyes that are cool with compassion and lips that are scented with yajna ingredients.’ 1 But as he recounts the legends concerning Varadaraja, Krishanu must needs put a spoke in his wheel of enthusiasm: ‘After all he (Varadaraja) stopped the progress of Saraswati. How can you praise him!’

The foremost temple of Vishnu Kanchi (also known as Chinna Kanchipuram) is that of Varadaraja, located in the eastern quarter of the city. The Puranic legend about the origins of the temple is easily told. Once upon a time Lakshmi and Saraswati went to Indra to find out who between them was superior. Indra spoke in favour of Lakshmi. Saraswati cursed him to be born as an elephant. She went to Brahma but he too said that Lakshmi was superior. Incensed, Saraswati took away his Creator’s Staff . Brahma performed tapasya to regain his staff . Narayana appeared to him and told him that if he (Brahma) could perform a sacrifice in Satyavrata Kshetra (Kanchipuram), he would get back his staff, as a yajna performed in this holy place is equivalent to one thousand Ashwamedha yajnas. Saraswati rushed upon Brahma’s yajna as a flood, but was stopped midway by Vishnu, who lay across the path. Brahma successfully completed the sacrifice and out of the sacrificial fire rose Narayana as Varadaraja (one who grants boons). The Lord returned to Brahma his ''srishti danda''. At that very moment, Indra, who had by now become the Hasti (Elephant) Hill, got Vishwakarma to construct a temple atop the hill for Varadaraja.

[[image:Lakshmi_Varaha.jpg|thumb|Lakshmi Vararha - a poem in stone]]
Historically speaking, the temple is more than a millennium old. Those who contributed to its building and growth include the Cholas, beginning with Rajaraja the Great (1018–54 CE), Pandyan kings like Sundara Pandya (13th cent.), the Cheras, and the Hoysalas. From the fourteenth century onwards the kings of the Vijayanagar Empire took great interest in the temple. Their spiritual mentors included Kotikannikadhanam Lakshmikumara Tatadesikan, of the famed line of Tatacharyas who were custodians of this temple. Among the mammoth structures built during this period is the celebrated Kalyana andapa, verily a connoisseur’s delight. Each of the ninety-six pillars is exquisitely sculpted with innumerable figures. Some figures actually seem to be ready to leap towards us. Vishwamitra performing tapasya as Mena ka dances, a cat trying to catch a dove, Hanuman giving the signet ring to Sita, the battle of Krishna and Jambavan, Rati and Manmatha flying on their parrot and swan mounts, and ''gopika-vastrapaharana'' (stealing of the gopis’ clothes) are some of them. There are scenes from the Ramayana and also trick sculptures aplenty— like a figure with three faces, four hands, and four legs; four monkey faces on the bodies of two monkeys; and an elephant when seen from the front appearing as a bull from behind. The irresistible marvels of this mandapam include the hanging stone chains. All the links in a given chain, including the stone plate from which it hangs, have been cut out of a single block of stone! Who was this divine sculptor? Who knows!

This Kalyana Mandapam is immediately to the left from the Varadaraja Temple’s front gopuram, which rises to thirty metres with seven tiers topped by nine ''kalashas'' (rounded pinnacles). Immediately behind the mandapam is the sacred pond, Ananta Pushkarini. Aththi Varada (an icon of Varadaraja made of wood, said to be the original deity worshipped in the sanctum) rests in a silver box beneath the waters and is displayed once in forty years. On three sides of this pond are various shrines. Lakshmi Varaha in a tiny niche is verily a poem sculpted in stone. Other deities enshrined in this area include Ranganatha and Sudarshana.

Going towards the hill which forms the centre of the complex, is the place to offer first salutations—to Yoga Narasimha in a cave. The Hasti Hill rises above this cave and has the sanctum of Varadaraja at the top. Varadaraja is seen standing, facing west. The ''utsava vigraha'' (the image used for festive outings) of Varadaraja has marks on the face. The priest explains that these are due to the heat of the sacrificial fire from which the Lord appeared on earth. For just a few minutes one takes in the scene, and then the veils of history enclose us to recreate a very different world. How many are the mystic dramas that have been enacted in this tiny space!

Sri Ramanuja’s formative years were spent here as a student. One of his teachers was Tirukachchi Nambi. Nambi’s duty was to wave the chowry for the deity in the sanctum. Belonging to the trader caste, Nambi was the very image of humility. So pure was his devotion that the Lord would have a dialogue with him whenever they were alone. We are assured by legends that one day Nambi was able to get answers directly from the Lord for the questions that had been troubling Sri Ramanuja. Other spiritual luminaries associated with Varadaraja are Nadathur Ammal, Kuresha, and Vedanta Deshika.

Kuresha (Srivatsanka Mishra) was the earnest disciple of Sri Ramanuja who saved his master from an inimical Chola king. But he was himself imprisoned and had his eyes gouged out. When he was released and went to his master, Sri Ramanuja asked him to go and pray at Kanchipuram, since Varadaraja was an unfailing giver of boons. It is true Kuresha lacked physical vision to see the deity, but Varadaraja was a familiar presence to him, as he had grown up in Kuram, close to Kanchipuram. So Kuresha went to Kanchipuram, stood before the Lord in the sanctum, and offered his supplication through one hundred and two verses that became famous as the ''Sri Varadaraja Stava''. We are told that when he was actually reciting the poem, the deity grew compassionate and asked him to choose a boon. Though Sri Ramanuja had hoped that Kuresha would ask for the restoration of his eyesight, the humble sadhaka wanted only ''paramapada'' (supreme beatitude) for the one who had harmed him: ‘The ananda that I am going to gain must be the portion of Naluran also!’ (It had been under the instigation of Naluran that the king had turned inimical towards Sri Ramanuja and passed the order to gouge out Kuresha’s eyes.) Touched by the devotee’s kindness even to an enemy, Varadaraja gifted him the ability to perceive his divine form as also that of Sri Ramanuja. The radiant poem by the aged devotee is couched in easily sung Sanskrit. A magnificent description of Varadaraja marks the opening:

May the Lord who has been described as unequalled and peerless by the accents of the Upanishads, Hari who is atop the Elephant Hill, always grant me the good.
I surrender unto him who is a treasure to Lakshmi-Perundevi Thayar, a shoreless treasure unto those who seek his help, one who has vowed to grant the purusharthas desired by devotees, who is ever concerned with the well-being of all living beings, whose treasure is compassion, the king of all, the lord of immortals.

Having assured himself and all those who would read the ''stotra'' (hymn) as a manual of sadhana that Varadaraja is the never-failing goal, Kuresha seeks to image the Supreme Being verily as a Self-created Brilliance on the Hastigiri, and surrenders to the hill itself for having made this image hailed in the Vedas perceptible to human sight.

Vedanta Deshika was the author of several ''stotras'', the epic'' Yadavabhyudaya'', and the drama ''Sankalpa-suryodaya'' in Sanskrit. At the same time he had an unrivalled mastery of Tamil and was immersed in the hymns of the Alvars. Once, the traditionalists of the Varadaraja temple objected to his reciting Tamil hymns in the ''prakara'' (circumambulatory path around the shrine). Vedanta Deshika argued with them and won the day. He then wrote the poem Tiruchchinnamalai in praise of Varadaraja that is recited whenever the Lord is taken out in procession.

Just outside Varadaraja’s sanctum and towards the right in the ''prakara'', is the twin lizards in the eastern corner. This is a very popular sight and is considered sacred. Etched on the roof are two lizards with two circles that seem to represent the sun and the moon. Legend says that these lizards were originally brahmana boys. Once they went to the forest to bring water for their guru, Rishi Gautama. They inadvertently left the pot uncovered, and when Gautama wanted to use the water, out leapt a lizard. The reship cursed his disciples to be born as lizards for a while for their carelessness. Aft er they were released from the curse, Indra had a gold and a silver lizard made, and announced that whoever stands in this corner marked by the lizards and looks at the Hastigiri will get the merit of having recited Hari’s name on an ''ekadashi'', the auspicious eleventh day of the lunar fortnight.
[[image:Lizard.jpg|thumb|The auspicious lizards]]

Coming down the steps, is the location to offer salutations at several shrines to such divinities as Dhanvantri, Malayala Nachiyar, and Perundevi Thayar (Goddess Mahadevi). Perundevi Thayar is a very noble presence who never fails to grant a sincere prayer. It is said that once Vedanta Deshika wanted to help a young brahmacharin who needed money to get married. When he composed and recited the ''Sri Stuti'' in the presence of Perundevi Thayar, there was a shower of gold. We now climb down to level ground and then go around another huge ''prakara'' which has niches to acharyas like Nammalvar, Ramanuja, Varavara Muni, and Vedanta Deshika.

Apart from Varadaraja’s temple, Kanchipuram’s Vaishnava ambience includes several other renowned elements of history, architecture, and literature. There is the temple at Urakam where the ''mulavar'' (main deity) is Trivikrama in a massive sculpted image. He has both his hands stretched sideways and the left leg lifted upwards in the act of measuring the skies. In the same temple, a visitor can salute three deities that were not originally residents of this temple: Jagadishwar of Tirunirakam, Karunakara of Karakam, and Karvana Perumal of Tirukarvanam. In times of political disturbance these images were brought here for safe custody and have remained here ever since. A little distance away from the front of this temple is a popular shrine to Chaturbhuja Anjaneya. Among other sacred places that are associated with Vaishnava presence in Kanchipuram are Tiruvehka (with Yathokathakari as the deity), Ashtabhuyakaram (Gajendravarada), Tiruthangal (Dipa Prakasha), Tirukalvanur (Adivaraha), Tiruvelukkai (Narasimha), Tirupadakam (Pandavaduta) and Tirupavalavannam (Pavalavannar).

While all these temples have somehow survived the onslaughts of time thanks to the unswerving faith of the devotees, it is Parameshwara Vinnakaram which is talked about much for its history and art. Situated within a kilometre of the Kanchipuram railway station, this is one of the most ancient Vishnu temples. It is built in sandstone with an admixture of granite. The place was originally a math and was used by pilgrims on their way to Banaras. The present structure was built by the Pallava king Parameshwaravarman (also known as Nandi-varman II) in the eighth century. It has three sanctums, one above the other. Vishnu is in the ''asana'' or sitting posture (Vaikuntha Perumal) in the sanctum on the ground floor, in the ''shayana'' or reclining posture (Ranganatha) on the first floor and in the ''sthanaka'' or standing posture (Paramapadanatha) on the second floor.

There are innumerable legends concerning this temple, which has been sanctified by the hymns of Tirumangai Alvar. According to one of them, Parameshwaravarman was gifted as a baby to his parents by the Lord himself, who came to them in the guise of a hunter. Since he grew up drinking the milk of elephants, he is said to have presented eighteen elephants to this temple.

What takes our breath away in this temple is the unending series of sculptures in the ''prakaras''. Having been carved out of sandstone, they are crumbling, but restoration work by the Archaeological Survey of India (ASI) has done marvels. One is left dumb with astonishment at the chisel of the sculptor that has created a video effect through several series: the battles between Pallavas and Chalukyas; the destruction of Hiranyakashipu by Narasimha; the killing of Narakasura by Krishna; the slaying of Vali by Rama; the events concerning the birth of Parameshwaravarman, his coronation, and the Lord teaching the king all the shastras are some of them. The Pallavas were fond of performing the Ashwamedha sacrifice and this too has been illustrated. One can even see a pilgrim from China carved on the wall.

In more recent history, Krishnadeva Raya of Vijayanagar provided amply for the upkeep of the temple. At present it is under the control of the ASI. Just beside the temple there is a mosque. The mosque shares the tank of the ancient temple, underlining the tolerant attitude that prevailed here.

[[image:Varadaraja_Perumal.jpg|thumb|Sri Varadaraja Perumal]]
Kanchipuram is inexhaustible. One is simply overwhelmed by the legends, history, and historical monuments in the city and its environs. The city appears to be a crucible in a divine laboratory. Religion and spirituality are seamlessly woven into secular life even today. The presence of several maths needs to be mentioned in this context. These include the Tondaimandala Adhinam, which is Shaivite and is headed by Sri Jnanaprakasha Deshika Paramacharya; the branch math of Tiruvavaduthurai Adhinam headed by Sri Sundaramurti Tambiran; the Upanishad Brahmendra Math, which has a famous icon of Dakshinamurti; and of course the Shankara Math guided by its pontiff , Acharya Sri Jayendra Saraswati. We also have now the Sri Ramakrishna Math at Karaipettai that is working ceaselessly for the strengthening of the bases of education, culture, religion, and spirituality that have made Kanchipuram famous for several millennia and drawn from Kalidasa the priceless compliment: ‘As is jasmine amongst flowers, Vishnu amongst men, Rambha amongst women, so is Kanchi amongst cities!’

'''Note'''

1. Varadaraja is said to have risen from the sacrificial fire at the yajna performed by Brahma on the banks of the Vegavati river.

== References ==

{{ reflist }}

* Originally published as "Kanchipuram, the Four-fold Glory" by Prabhuddha Bharata [https://advaitaashrama.org/pb_archive/2007/PB_2007_May.pdf May 2007], [https://advaitaashrama.org/pb_archive/2007/PB_2007_June.pdf June 2007], [https://advaitaashrama.org/pb_archive/2007/PB_2007_July.pdf July2007] and [https://advaitaashrama.org/pb_archive/2007/PB_2007_August.pdf August 2007] editions. Reprinted with permission.

Sri Naganathaswamy Temple Thirunageshwaram

2010-04-28T12:55:59Z

K. Ravindranath:

== '''SRI NAGANATHASWAMY TEMPLE - THIRUNAGESHWARAM'''==
By C.R. Kaushik

Sri Naganathaswamy is Shiva as Rahu. Thirugnana Sambandar, Thiru navukarasu Nayanar, Thiru Sundramoorthi Nayanar, and Arunagiri Swamigal have praised the glory of the Lord in this Temple.

== Location ==

Thirunageshwaram Sri Naganathaswamy Temple is situated 6 kms away from Kumbakonam on the southern banks of Cauvery in Thanjavur district. The presiding Deity is Giri Gujambika Sametha Naganathaswamy. The Raaghu Sannathi (Nagaraja Shrine) is on the South-West direction of the second prakara.
The Chola King Kandaraathithya (950AD-957AD) renovated this temple into a granite edifice. The inner Mantapa was built by Seikkizhar. Govinda Dikshitar (17th century A.D.) a minister to Acchuthappa nayak, constructed the outer mantapa. Sambumali, a King built the beautiful Surya Pushkarani. The roof and other renovation work were done by Arimalazham Annamalai Chettiar.

== Deities ==

Nageswarar or Naganatha is the swayambu main deity in this Temple, Arthanareeswara Shrine, Piraiyanivanudalumai, Girigujambika, are the other deities in the Temple. There is a separate shrine to Goddess Girigujambika Lakshimi and Saraswathi are standing on either side of Her.

== Sculpture ==

There are some ancient sculptures in the Mantapas. The horse and lion figures on the pillars, Adhikaranandi, Seikkilar,Balaravoyar,his brother and their mother, Sambandar, Appar, Sundarar, Manikkavasagar, Bairava, Nataraja, and others are very beautiful. The thousand pillared mantapa is designed like a chariot having artistic stone wheels.

== Sthala Vruksha ==

This place had many Senbaka Trees and beneth on of them there was a Shivalinga, hence the Lord here came to be known as Shenbagarare Eswara. Sthala Vruksha is Senbaka tree.

== Legends ==

Legend has it that the mythological serpents Aadi Seshan, Dakshan and Kaarkotakan worshipped Shiva here. Legend also has it that Nala worshipped Shiva here as in Gowtama muni, Paraasarar and Bhageerata are also associated with legends related to this temple. Tirunageswaram, Raaghu is the king of snakes and since he worshiped lord Shiva the place was named as Thirunageshwaram. Once Sugarma son of Susheela muni was bitten by a snake, the sage cursed the snake for hurting his son. Raghu Bhagavan got rid of his curse inflicted by Sushila Muni by worshipping Lord Shiva here. Hence Lord Shiva is also worshipped as 'Naganatha Swamy' here owing to the deliverance of Raaghu Bhagavan from his curse by His grace. Offering worship at this Nageswarar temple in the morning, at noon and at in the evening on a given day is considered to be of special significance. Suryan, Vinayaga, Gautamar, Nalan, Parasarar, Pandavas, Vasishtar, Indran, Brahma, Bageerathan, Chandrasenan, Adiseshan, Kakkan Karkodagan, Sounagar, Nargunan have prayed and benefited at this sthala. King Sambumali who had incurred the wrath of sage Kaalangiri, attained moksha after bathing in the temple tank and praying to the Lord and Ambal of this temple. Bringi Muni prayed only to Shiva. Girigujambikai is believed to have appeared before Bringi Muni along with Lakshmi and Saraswati in this sthala. Parvathy did penance for Ardhanareeshwara form. Shiva was pleased and shared half of his body with hers and appeared as Ardhanareeshawara here in this sthala.

== Some special features==

The milk poured (Abhiseka) to Raaghu changes into light blue color.

== Pushkarni==

Lord Surya is said to have immersed himself in the water tank constructed by Adisesha and acquired the state of bliss. The tank then came to be known as the Surya Theertham. There are 12 Theerthams in this Temple. 1. Surya 2. Yama 3. Brahma 4. Chandra 5. Agni 6. Durga 7. Gowthama 8. Paraasara 9. Indra 10. Bruhu 11. Kanva 12.Vashista

== Poojas ==

The Jothisha Sastra (Astrololgy) states that if Raaghu is in good position in one’s horoscope He will bestow all prosperity (including Raja Yoga) to him and that person becomes a Kubera . In order to nullify Kalasthra dhosha, Naga dhosa and Putra dhosha one should worship Raaghu. People afflicted with Nagadhosa should perform oblations. Five kala poojas (5times worship) are being done everyday. Special Abhisekas are performed between 4.30 to 6 p.m. (Raaghu Kala) in all Sundays.

== Festivals ==

Mahashivarathri, Marghazhi Thiruvadhirai, panguni Uthram, Karthigai, The annual Bhramotsavam is observed in the month of Kartikai while the Sekkizhaar festival is celebrated in the month of Vaikasi.Raghu Peyarchi are special days in this Temple.

== Address ==
Sri Nageswarar Temple
Thirunageswaram, Tanjavur District, TN 612204
Tel: 91- 435- 246 3354

* [[Temples]]

Sri Balasubramanya Swamy Temple Ayikudi

2010-04-28T11:37:02Z

K. Ravindranath:

== '''SRI BALASUBRAMANYA SWAMI TEMPLE – AYIKUDI''' ==
By C.R. Kaushik

== Location==
Situated in Thenkasi Taluk, in Thrunelveli District of Tamil Nadu, on the banks of Hanuman Nadi near Kutralam is Ariyar kudi or Arya Kuti – 'the abode of noble people', popularly known as Ayikudi, is this beautiful temple for Young Bala Muruga Peruman,.

==Main Deity==
The main deity is a beautiful small mulavar murthy of Balasubramanya Swamy, also popularly known here as Rama Subramanya Swamy.He is believed to have been found by a villager in the nearby Mallapuram Eri (irrigation tank). A similar looking Utsavar Murthy of this temple is Muthukumaraswamy, standing next to a peacock on a Padma peetam. Both the Moolavar & Utsava Murthys are so beautiful that the darshan of Karunamurthi Bala Muruga is a treat to all the bhaktas who visit this temple.

[[image:ImageName-image.jpg|thumb]]

==Pancha Vruksha==
This Lord Muruga temple is on the banks of Hanuman Nadi, depicted under five trees. The main Sthala-Vruksha(sacred tree) is Arasa Maram or the Pipal tree. The other four are Vembu – Neem tree, Karuvepilai – Curry leaf tree, Madhulai- Pomegranate Tree and Mavilangu.

==Pancha Devas==
The importance of this temple is that many Devatha are worshiped in this Sthala (holy site). On the right side of the Moola Vigraha (main deity) are Mahadeva, Mahavishnu, Ambikai, and Ganesha and on the left side of the Moolavar is Aditya (Surya) and these are the Pancha-Devatas of this temple. The main Moolavar SanNadi is of Balasubramanya who is located under the Pancha-Vrukshas and in the middle of the Pancha Devathas. Sri Rama & Hanuman are always remembered on these riverbanks. The temple is known for attaining Karya Siddhi or success in endeavors and Pillaiperu or childbirth for bhaktas who visit and participate in the pujas and sponsor the special offering of 'Hanuman Nadi Padi-Payasam'.

== Legend==
On the way in search of Sita Devi, Hanuman was very thirsty. He did not want to go in search of water. It is believed that with the sharp edge of his tail he created a Nadi(stream or a small river) and quenched his thirst. Hence the Nadi here is called Hanuman Nadi. Sri Rama drank water from this Nadi and rested on its banks. Since this temple and the Nadi are devoted to Lord Subramania and Sri Rama, the nama Rama-subramanian is a popular name given to children born in this area. Rama Sita Anjaneya images are carved in the pillars of this temple Mandapam.

==History==
Once upon a time there lived a Bhakta in Ayikudi Kezh (lower) Agraharam, who become a saint and attained siddhi in this area. His Kaushika vamsa descendants made his Samadhi on the banks of the Hanuman Nadi, where he had propagated Hindu Dharma and his Bhakthi for Sri Rama and Lord Subramanya, and planted the first Pipal tree there. The Balasubramania vigraha was later found and was installed on his Adhishtaanam with Subrahmanya Shadaksharikalpa Agama Sastra traditions and a small temple was built and pujas conducted by the descendant families.

Until 1931 the roof of the temple was made by coconut & palm leaves. The Travancore Maharaja who happened to visit this area appreciated the devotion of the villagers and decided to help in completing this temple. In about mid 1800s the temple management was taken up by Travancore Samsthanam and they renovated the temple, building the roof and Gopuram, Mayil Mandapam, Mani Mandapam, Praharams and Padithurais around this with all the Pancha Vrukshas and the Pancha Devatas. Then the Utsava Murti was made and grand festivals were arranged by the government, which the villagers enjoyed and participated. Until 1947 the temple was under the Travancore government management.

== Pushkarni==
Earlier days many pundits got down into the Hanuman Nadi and did ablutions in the water. The water was used for ceremonies and ritual cleansing by devotees. The sweet tasty water from this Nadi is believed to cure diseases and maladies and gives complete wisdom and long life to the Bhakta. The Padi Payasam Prasad used is made on the shores from this water.

== Festivals ==
Skanda Shashti Soora Samhara festival, Chithirai Vishu, Vaigasi Vishakam, Masi Makam, Thaipusam are special festivals of this temple. Hanuman Nadi Padi Payasam, Palkudam, Kavadi are important forms of worship in this temple. This temple Arasa Elai Vibhudhi Prasadham that is the holy ashes given folded in a pipal leaf, is very popular and auspicious. This is one temple where several deities are adored and divine Balasubramanya bestows all boons to bhaktas who visit this shrine.

== Address ==
Sri Balasubrtamanya Swami Devasthanam
Ayikudi P.O, Tenkasi Taluk, TN 627 852
Telephone: 91- 4633 - 267636

* [[Temples]]

Sri Balasubramanya Swamy Temple Ayikudi

2010-04-28T11:15:50Z

K. Ravindranath: /* Pancha Devas */

== '''SRI BALASUBRAMANYA SWAMI TEMPLE – AYIKUDI''' ==
By C.R. Kaushik

== Location==
Situated in Thenkasi Taluk, in Thrunelveli District of Tamil Nadu, on the banks of Hanuman Nadi near Kutralam is Ariyar kudi or Arya Kuti – 'the abode of noble people', popularly known as Ayikudi, is this beautiful temple for Young Bala Muruga Peruman,.

==Main Deity==
The main deity is a beautiful small mulavar murthy of Balasubramanya Swamy, also popularly known here as Rama Subramanya Swamy.He is believed to have been found by a villager in the nearby Mallapuram Eri or irrigation tank. A similar looking Utsavar Murthy of this temple is Muthukumaraswamy, standing next to a peacock on a Padma peetam. Both the Moolavar & Utsava Murthys are so beautiful that the darshan of Karunamurthi Bala Muruga is a treat to all the bhaktas who visit this temple.

[[image:ImageName-image.jpg|thumb]]

==Pancha Vruksha==
This Lord Muruga temple is on the banks of Hanuman Nadi, depicted under five trees. The main Sthala-Vruksha is Arasa Maram or the Pipal tree. The other four being Vembu – Neem tree, Karuvepilai – Curry leaf tree, Madhulai- Pomegranate Tree and Mavilangu are the sthala Vrukshas.

==Pancha Devas==
The importance of this temple is that many Devatha are worshiped in this Sthala (holy site). On the right side of the Moola Vigraha (main deity) are Mahadeva, Mahavishnu, Ambikai, and Ganesha and on the left side of the Moolavar is Aditya (Surya) and these are the Pancha-Devatas of this temple. The main Moolavar SanNadi is of Balasubramanya who is located under the Pancha-Vrukshas and in the middle of the Pancha Devathas. Sri Rama & Hanuman are always remembered on these riverbanks. The temple is known for attaining Karya Siddhi or success in endeavors and Pillaiperu or childbirth for bhaktas who visit and participate in the pujas and sponsor the special Hanuman Nadi Padi-Payasam.

== Legend==
On the way in search of Sita Devi, Hanuman was very thirsty. He did not want to go in search of water. It is believed that with the sharp edge of his tail he created a Nadi and quenched his thirst. Hence the Nadi here is called Hanuman Nadi. Sri Rama drank water from this Nadi and rested on its banks. Since this temple and the Nadi are devoted to Lord Subramania and Sri Rama, the nama Rama-subramanian is a popular name given to children born in this area. Rama Sita Anjaneya images are carved in the pillars of this temple Mandapam.

==History==
Once upon a time there lived a Bhakta in Ayikudi Kezh (lower) Agraharam, who become a saint and attained siddhi in this area. His Kaushika vamsa descendants made his Samadhi on the banks of the Hanuman Nadi, where he had propagated Hindu Dharma and his Bhakthi for Sri Rama and Lord Subramanya, and planted the first Pipal tree there. The Balasubramania vigraha was later found and was installed on his Adhishtaanam with Subrahmanya Shadaksharikalpa Agama Sastra traditions and a small temple was built and pujas conducted by the descendant families.

Until 1931 the top of the temple was only made by coconut & palm leaves. The Travancore Maharaja who happened to visit this area appreciated the devotion of the villagers and decided to help in completing this temple. In about mid 1800s the temple management was taken up by Travancore Samsthanam and they renovated the temple building the roof and Gopuram, Mayil Mandap, Mani Mandapam, Praharams and Padithurais around this with all the Pancha Vrukshas and the Pancha Devatas. Then the Utsava Murti was made and grand festivals were arranged by the government, which the villagers enjoyed and participated. Until 1947 the temple was under the Travancore government management.

== Pushkarni==
Hanuman Nadi. Earlier days many pundits got down into the Nadi and did ablutions in the water. The water was used for ceremonies and ritual cleansing by devotees. The sweet tasty water from this Nadi is believed to cure diseases and maladies and gives complete wisdom and long life to the Bhakta. The Padi Payasam Prasad used is made on the shores from this water.

== Festivals ==
Skanda Shashti Soora Samhara festival, Chithirai Vishu, Vaigasi Vishakam, Masi Makam, Thaipusam are special festivals of this temple. Hanuman Nadi Padi Payasam, Palkudam, Kavadi are important forms of worship in this temple. This temple Arasa Elai Vibhudhi Prasadham that is the holy ashes given folded in a pipal leaf, is very popular and auspicious. This is one temple where several deities are adored and divine Balasubramanya bestows all boons to bhaktas who visit this shrine.

== Address ==
Sri Balasubrtamanya Swami Devasthanam
Ayikudi P.O, Tenkasi Taluk, TN 627 852
Telephone: 91- 4633 - 267636

* [[Temples]]

Sri Balasubramanya Swamy Temple Ayikudi

2010-04-28T11:08:49Z

K. Ravindranath: /* Main Deity */

== '''SRI BALASUBRAMANYA SWAMI TEMPLE – AYIKUDI''' ==
By C.R. Kaushik

== Location==
Situated in Thenkasi Taluk, in Thrunelveli District of Tamil Nadu, on the banks of Hanuman Nadi near Kutralam is Ariyar kudi or Arya Kuti – 'the abode of noble people', popularly known as Ayikudi, is this beautiful temple for Young Bala Muruga Peruman,.

==Main Deity==
The main deity is a beautiful small mulavar murthy of Balasubramanya Swamy, also popularly known here as Rama Subramanya Swamy.He is believed to have been found by a villager in the nearby Mallapuram Eri or irrigation tank. A similar looking Utsavar Murthy of this temple is Muthukumaraswamy, standing next to a peacock on a Padma peetam. Both the Moolavar & Utsava Murthys are so beautiful that the darshan of Karunamurthi Bala Muruga is a treat to all the bhaktas who visit this temple.

[[image:ImageName-image.jpg|thumb]]

==Pancha Vruksha==
This Lord Muruga temple is on the banks of Hanuman Nadi, depicted under five trees. The main Sthala-Vruksha is Arasa Maram or the Pipal tree. The other four being Vembu – Neem tree, Karuvepilai – Curry leaf tree, Madhulai- Pomegranate Tree and Mavilangu are the sthala Vrukshas.

==Pancha Devas==
The importance of this temple is that many Devatha are worshiped in this Sthala. On the right side of the Moola Vigraha are Mahadeva, Mahavishnu, Ambikai, and Ganesha and on the left side of the Moolavar is Aditya (Surya) and these are the Pancha-Devatas of this temple. The main Moolavar SanNadi is of Balasubramanya is located under the Pancha-Vrukshas and in the middle of the Pancha Devathas. Sri Rama & Hanuman are always remembered on these riverbanks. The temple is known for attaining Karya Siddhi or success in endeavors and Pillaiperu or childbirth for bhaktas who visit and participate in the pujas and sponsor the special Hanuman Nadi Padi-Payasam.

== Legend==
On the way in search of Sita Devi, Hanuman was very thirsty. He did not want to go in search of water. It is believed that with the sharp edge of his tail he created a Nadi and quenched his thirst. Hence the Nadi here is called Hanuman Nadi. Sri Rama drank water from this Nadi and rested on its banks. Since this temple and the Nadi are devoted to Lord Subramania and Sri Rama, the nama Rama-subramanian is a popular name given to children born in this area. Rama Sita Anjaneya images are carved in the pillars of this temple Mandapam.

==History==
Once upon a time there lived a Bhakta in Ayikudi Kezh (lower) Agraharam, who become a saint and attained siddhi in this area. His Kaushika vamsa descendants made his Samadhi on the banks of the Hanuman Nadi, where he had propagated Hindu Dharma and his Bhakthi for Sri Rama and Lord Subramanya, and planted the first Pipal tree there. The Balasubramania vigraha was later found and was installed on his Adhishtaanam with Subrahmanya Shadaksharikalpa Agama Sastra traditions and a small temple was built and pujas conducted by the descendant families.

Until 1931 the top of the temple was only made by coconut & palm leaves. The Travancore Maharaja who happened to visit this area appreciated the devotion of the villagers and decided to help in completing this temple. In about mid 1800s the temple management was taken up by Travancore Samsthanam and they renovated the temple building the roof and Gopuram, Mayil Mandap, Mani Mandapam, Praharams and Padithurais around this with all the Pancha Vrukshas and the Pancha Devatas. Then the Utsava Murti was made and grand festivals were arranged by the government, which the villagers enjoyed and participated. Until 1947 the temple was under the Travancore government management.

== Pushkarni==
Hanuman Nadi. Earlier days many pundits got down into the Nadi and did ablutions in the water. The water was used for ceremonies and ritual cleansing by devotees. The sweet tasty water from this Nadi is believed to cure diseases and maladies and gives complete wisdom and long life to the Bhakta. The Padi Payasam Prasad used is made on the shores from this water.

== Festivals ==
Skanda Shashti Soora Samhara festival, Chithirai Vishu, Vaigasi Vishakam, Masi Makam, Thaipusam are special festivals of this temple. Hanuman Nadi Padi Payasam, Palkudam, Kavadi are important forms of worship in this temple. This temple Arasa Elai Vibhudhi Prasadham that is the holy ashes given folded in a pipal leaf, is very popular and auspicious. This is one temple where several deities are adored and divine Balasubramanya bestows all boons to bhaktas who visit this shrine.

== Address ==
Sri Balasubrtamanya Swami Devasthanam
Ayikudi P.O, Tenkasi Taluk, TN 627 852
Telephone: 91- 4633 - 267636

* [[Temples]]

Sri Balasubramanya Swamy Temple Ayikudi

2010-04-28T11:04:57Z

K. Ravindranath: /* Location */

== '''SRI BALASUBRAMANYA SWAMI TEMPLE – AYIKUDI''' ==
By C.R. Kaushik

== Location==
Situated in Thenkasi Taluk, in Thrunelveli District of Tamil Nadu, on the banks of Hanuman Nadi near Kutralam is Ariyar kudi or Arya Kuti – 'the abode of noble people', popularly known as Ayikudi, is this beautiful temple for Young Bala Muruga Peruman,.

==Main Deity==
The main deity is a beautiful small mulavar murthy of Balasubramanya Swamy, also popularly known here as Rama Subramanya Swamy, is believed to have been found by a villager in the nearby Mallapuram Eri. A similar looking Utsavar Murthy of this temple is Muthukumaraswamy, standing next to a peacock on a Padma peetam. Both the Moolavar & Utsava Murthys are so beautiful and the darshan of Karunamurthi Bala Muruga is a treat to all the bhaktas who visit this temple.

[[image:ImageName-image.jpg|thumb]]

==Pancha Vruksha==
This Lord Muruga temple is on the banks of Hanuman Nadi, depicted under five trees. The main Sthala-Vruksha is Arasa Maram or the Pipal tree. The other four being Vembu – Neem tree, Karuvepilai – Curry leaf tree, Madhulai- Pomegranate Tree and Mavilangu are the sthala Vrukshas.

==Pancha Devas==
The importance of this temple is that many Devatha are worshiped in this Sthala. On the right side of the Moola Vigraha are Mahadeva, Mahavishnu, Ambikai, and Ganesha and on the left side of the Moolavar is Aditya (Surya) and these are the Pancha-Devatas of this temple. The main Moolavar SanNadi is of Balasubramanya is located under the Pancha-Vrukshas and in the middle of the Pancha Devathas. Sri Rama & Hanuman are always remembered on these riverbanks. The temple is known for attaining Karya Siddhi or success in endeavors and Pillaiperu or childbirth for bhaktas who visit and participate in the pujas and sponsor the special Hanuman Nadi Padi-Payasam.

== Legend==
On the way in search of Sita Devi, Hanuman was very thirsty. He did not want to go in search of water. It is believed that with the sharp edge of his tail he created a Nadi and quenched his thirst. Hence the Nadi here is called Hanuman Nadi. Sri Rama drank water from this Nadi and rested on its banks. Since this temple and the Nadi are devoted to Lord Subramania and Sri Rama, the nama Rama-subramanian is a popular name given to children born in this area. Rama Sita Anjaneya images are carved in the pillars of this temple Mandapam.

==History==
Once upon a time there lived a Bhakta in Ayikudi Kezh (lower) Agraharam, who become a saint and attained siddhi in this area. His Kaushika vamsa descendants made his Samadhi on the banks of the Hanuman Nadi, where he had propagated Hindu Dharma and his Bhakthi for Sri Rama and Lord Subramanya, and planted the first Pipal tree there. The Balasubramania vigraha was later found and was installed on his Adhishtaanam with Subrahmanya Shadaksharikalpa Agama Sastra traditions and a small temple was built and pujas conducted by the descendant families.

Until 1931 the top of the temple was only made by coconut & palm leaves. The Travancore Maharaja who happened to visit this area appreciated the devotion of the villagers and decided to help in completing this temple. In about mid 1800s the temple management was taken up by Travancore Samsthanam and they renovated the temple building the roof and Gopuram, Mayil Mandap, Mani Mandapam, Praharams and Padithurais around this with all the Pancha Vrukshas and the Pancha Devatas. Then the Utsava Murti was made and grand festivals were arranged by the government, which the villagers enjoyed and participated. Until 1947 the temple was under the Travancore government management.

== Pushkarni==
Hanuman Nadi. Earlier days many pundits got down into the Nadi and did ablutions in the water. The water was used for ceremonies and ritual cleansing by devotees. The sweet tasty water from this Nadi is believed to cure diseases and maladies and gives complete wisdom and long life to the Bhakta. The Padi Payasam Prasad used is made on the shores from this water.

== Festivals ==
Skanda Shashti Soora Samhara festival, Chithirai Vishu, Vaigasi Vishakam, Masi Makam, Thaipusam are special festivals of this temple. Hanuman Nadi Padi Payasam, Palkudam, Kavadi are important forms of worship in this temple. This temple Arasa Elai Vibhudhi Prasadham that is the holy ashes given folded in a pipal leaf, is very popular and auspicious. This is one temple where several deities are adored and divine Balasubramanya bestows all boons to bhaktas who visit this shrine.

== Address ==
Sri Balasubrtamanya Swami Devasthanam
Ayikudi P.O, Tenkasi Taluk, TN 627 852
Telephone: 91- 4633 - 267636

* [[Temples]]

Talk:Yajnavalkya

2010-03-23T11:28:25Z

K. Ravindranath: /* The Man */

{{Author|Krishna Maheshwari}}

The seeds of all subsequent spiritual attainments were sown in the Vedic age. Apart from the pastoral simplicity of the people, that age was marked by an integral view of reality and a holistic outlook on life. There was then hardly any distinction between the sacred and the secular, and all activities, including biological functions, were regarded as participation in cosmic sacrifice, yajna. Since life was a total consecration to the realization of the transcendent Reality, the contradiction between renunciation and involvement in life was not felt. The distinction between personal God and the impersonal Absolute, between bhakti and jnana, karma and yoga, and such other apparent dichotomies, which were to plague spirituality in subsequent ages, had not been formulated. The world was not looked upon as illusory but as an expression of the luminous Spirit. All these features of Vedic life were embodied in the rishi ideal.

One such Vedic rishi was Yājñavalkya whose very name commands awe and respect: Yājñavalkya, a great wonder, a myth personified. The Puranas abound in references to Yājñavalkya, and for this reason many scholars argue that there were several Yājñavalkyas of repute. Yājñavalkya’s life and work as described in various sources is presented below in a unitary fashion.

His name stands distinguished both in the Srutis and in the Smritis. Yājñavalkya is especially known for his unsurpassed spiritual wisdom and power. The recipient of the Shukla Yajurveda Samhita from Bhagavan Surya, the revealer of Brahma Jnana to Janaka, Maitreyi and others, Yājñavalkya hails supreme among sages of sacred memory.

Yājñavalkya was also a great Karmakandi. He caused many Yajnas to be performed and himself became the Acharya of those great Yajnas. He was a celebrated Srotriya and a Brahma-nishtha Guru.

== The Man ==

Yājñavalkya was the incarnation of Brahma. Cursed by Shiva, Brahma incarnated himself as Yājñavalkya<ref>Skanda Purana, ‘Nagar Khanda’, 129</ref>. He was the son of Brahmabahu, who was born of the limbs of Brahma.<ref>Vayu Purana, 61.</ref> The ''Yājñavalkya Samhita''—a well-known book of religious law compiled by Yājñavalkya—mentions that Yājñavalkya’s father’s name was Yajñavalkya<ref> Yājñavalkya Samhita, 1. </ref>. His mother was the sister of of Mahamuni Vaishampayana, the Vedacharya of the Taittiriya shaka of the Yajurveda. Yājñavalkya learnt the yoga scriptures from Vasishtha, son of Hiranyanabha Kaushalya<ref>Vayu Purana, 88</ref>. He performed penance at Mithila<ref>Skanda Purana,‘Reva Khanda’, 42.</ref>. He learnt the science of the Self from Hiranyanabha, a king of the Raghu Dynasty and a teacher of yoga<ref>Bhagavata, 9.12.</ref>. The rituals pertaining to ''dana'' or charity, ''shraddha'' or post-funerary rites, and purification of ritual objects; duties of the householder, caste duties, duties of the ascetic, and the like, included in the ''Garuda Purana'', were codified by Yājñavalkya<ref>Garuda Purana, 93.106.</ref>.

Mahadeva, Yājñavalkya composed the ''Yoga Samhita'' afer observing penance in the hermitage of the great sage Upamanyu<ref>Kurma Purana,25</ref>. Yājñavalkya used to attend the royal court of Yudhishthira and was the presiding priest at the Rajasuya sacrifce performed when Yudhishthira was crowned emperor<ref>Mahabharata, ‘Sabha Parva’, 4.32</ref>.

Once all the Rishis decided to form an association near the Meru mountain and made a rule that any Rishi who absented himself at the appointed hour should incur the sin of Brahmahatya (the sin of killing a Brahmin) for seven days. On that appointed day fell the Sraddha ceremony of Vaishampayana's father. Vaishampayana thought, "Somehow I have to perform my father's ceremony. If the sin of Brahmahatya comes to me, my disciples will observe the expiatory penance therefor". So Vaishampayana did not attend the meeting of the Rishis. And accordingly he incurred the sin of Brahmahatya.

Then Vaishampayana said to his disciples, "Now I have to expiate this great sin of Brahmahatya. Therefore, you all will observe, for my sake, an expiatory penance for seven days".

At once Yājñavalkya stood up and said, "O Guru! All these are poor-spirited young students. They will not be able to undergo such a hard penance. So, instead of all, I myself alone shall observe it in the manner in which nobody else can". Vaishampayana told Yājñavalkya not to undertake it alone. But Yājñavalkya persisted. The preceptor was offended at this audacious attitude of the disciple and said, "O proud one, you are very conceited. You get away from me. Enough of you who is disposed to despise wise Brahmins. Give back to me immediately whatever you have learnt from me".

Upon the order of the Guru, Yājñavalkya, the son of Devarata, vomited out the collection of the Yajus in the form of food. The other disciples ate that food taking the form of the Tittiri birds, because they were very eager to receive the same. They then had the direct revelation of those Yajurveda collections. As the Tittiri birds ate this Veda, it is thenceforth called the Taittiriya Yajurveda. It is also known as Krishna (black) Yajurveda on account of its being vomited substance.

Then Yājñavalkya determined not to have any human Guru thereafter. Thus he began to propitiate the Sun-God, Surya. Yājñavalkya worshipped and extolled the Sun, the master of the Vedas, for the purpose of acquiring the fresh Vedic portions not known to his preceptor, Vaishampayana.

Yājñavalkya said, "Prostration to the glorious Aditya, who in the form of the Atman, abides in all beings. I bow to Him who surrounds all like Akasa, who is one and not separated or distanced by limiting conditions. O Great God, O Creator, I contemplate upon that glowing sphere which lights and warms the whole world! O God who burns all miseries wrought by unrighteous activities, who burns ignorance which is the seed of activity! O Lord, I worship Thy lotus-like feet praised and worshipped by the rulers of the three worlds. Give me those portions of the Veda which are not known to others".

The Sun-God, the glorious Lord Hari, pleased with Yājñavalkya's penance, assumed the form of a horse and taught the sage such fresh portions of the Yajurveda as were not known to any other. This portion of the Yajurveda goes by the name of Shukla Yajurveda. It is also known as Vajasaneya Yajurveda, because it was evolved in great rapidity by Surya in the form of a horse through his manes. Yājñavalkya divided the Vajasaneya Yajurveda into fifteen branches, each branch comprising hundreds of Yajus Mantras. Fifteen of his disciples—Kanva, Madhyandina, and others—mastered these and became renowned as Vajis (fleet-footed, or of the horse lineage)<ref>Bhagavata, 12.6; Vishnu Purana, 3.5; Vayu Purana 60–1.</ref>.

Yājñavalkya had two wives. One was Maitreyi and the other Katyayani. Of the two, Maitreyi was a Brahmavadini. When Yājñavalkya wished to divide his property between the two wives before starting for the fourth Ashrama of his life, Maitreyi asked whether she could become immortal through wealth. Yājñavalkya replied that there was no hope of immortality through wealth and that she would only become one among the many who were well-to-do on earth. On hearing this, Maitreyi requested Yājñavalkya to teach her what he considered as the best. Then Yājñavalkya elaborately described to her the sole greatness of the Absolute Self, the nature of Its existence, the way of attaining infinite knowledge and immortality, etc. This immortal conversation between Yājñavalkya and Maitreyi is recorded in the Brihadaranyaka Upanishad.

The other wife Katyayani<ref>Katyayani was also known as Kalyani</ref>, the daughter of Bharadhwaja, was of common intelligence, and through her Yājñavalkya had three sons-Chandrakanta, Mahamegha and Vijaya<ref>Skanda Purana, ‘Nagar Khanda’, 130. </ref>.

Once King Janaka of Videha wanted to know from which real Brahmanishtha to receive Brahma Vidya. In order to find out who was the real Brahma-nishtha, Janaka performed a huge Bahu-dakshina sacrifice to which all the Rishis from far and wide were invited. And he offered one thousand cows with their calves, all their horns being decked with enormous gold. Then he proclaimed to the assembled ones, "Whosoever is the best Brahmana amongst you may drive these cows home". None dared to get up and take away the cows as they were afraid of censure by the others. But Yājñavalkya stood up and asked his disciple Samasravas to drive the cows home. The other brahmanas were enraged. ‘How dare he call himself the best Vedic scholar among us?’ Ashwala, one of Janaka’s priests, asked Yājñavalkya, ‘Are you indeed the best Vedic scholar among us?’ Yājñavalkya replied curtly, ‘I bow to the best Vedic scholar. I just want the cows.’ Ashwala and several other brahmanas then proceeded to interrogate Yājñavalkya with abstruse questions. Yājñavalkya defeated them all by providing deeply insightful answers to their queries and then leaving them dumbfounded with such queries as ‘If someone pulls out a tree with its root, it no more sprouts. From what tree does a mortal (human being) spring forth after having been cut off by death?’<ref>Brihadaranyaka Upanishad, 3.1–9.</ref>

At the sacrifice of Janaka, there was an exchange of words between Yājñavalkya and Vaishampayana. But on hearing that Yājñavalkya had obtained a fresh Veda from the Sun-God, Vaishampayana was much pleased and he requested Yājñavalkya to teach that Veda to his own disciples also. Yājñavalkya consented and taught his Veda to the disciples of Vaishampayana. Similarly, he also debated with another of his teachers, Uddalaka, thus overcoming him.

In the end, Yājñavalkya took Vidvat Sannyasa (renunciation after the attainment of the knowledge of Brahman) and retired to the forest.

== The Devotee ==

Yājñavalkya was a wonderful yogi and had a profound knowledge of the ultimate Reality—Brahman. He was also a great devotee. In the introduction to his book ''Ramcharitmanas'', the poet Saint Tulsidas, one of the biographers of Sri Ramachandra, acknowledged the fact that Yājñavalkya narrated the story of Ramachandra to sage Bharadwaja. Tulsidas wrote:
I am going to explain the message inherent in the beautiful story that sage Yājñavalkya narrated to the great sage Bharadwaja; let those who are righteous listen to that portrait with happy hearts.

Shambhu, the great deity, first composed the beautiful biographical story,''Ramacaritamanasa'', and was kind enough to recite it to Parvati. Later he recited it to Kakabhushundi when he realized that Kakabhushundi was a pious devotee of Rama. Sage Yājñavalkya, in his turn, heard it from Kakabhushundi and he sang it to the sage Bharadvaja. Both, Yājñavalkya and Bharadvaja, were both of them of equal intelligence and both of them were aware of the divine plays of Hari. These omniscient sages had direct knowledge of everything belonging to the past, present and future as if it were an emblica [the sour 'Indian gooseberry'] in the palms of their hands. The other righteous devotees of Hari (who knew of the divine plays and mysteries of God) listened to, recited, and explained His character in detail.<ref>The Rāmāyana of Tulsidās, trans. A G Atkins (N Delhi: Hindustan Times, 1954), 1.28.</ref>

== The Yogi ==

Yājñavalkya composed a handbook on yoga philosophy, named ''Yogi-yajnavalkya'', wherein he expounded the philosophy of yoga in reply to a query from his wife Gargi. Incidentally, Gargi is introduced by Yājñavalkya as his wife in this book, though in the ''Brihadaranyaka Upanishad'' she is a rival questioner. The introductory narrative runs thus:

The great sage Yājñavalkya, the foremost of the sages, was omniscient. His knowledge of Reality had made his mind completely pure; he devoted himself to constant meditation on God after he had attained the requisite knowledge of all the branches of learning. He knew the essential philosophy of the Veda and Vedanta thoroughly; he was especially devoted to yogic practices. He had conquered his senses, the emotion of anger, the love of food, his enemies, and thus had become the favourite of the brahmanas. He was always engaged in practising penance and meditating upon the Absolute. That handsome sage used to practise his everyday prayers and worship while staying in his hermitage. That great and noble sage, who had had the realization of Brahman, was always surrounded by brahmanas. He was calm, devoted to truth, spiritually attuned to all creatures, and an appreciator of everyone’s merits. The only purpose of his life was to do good to others. One day when this great sage, who was endowed with such virtues, was discoursing upon the nature of the Divinity to the distinguished sages, the noble Maitreyi, who was the greatest of women, and Gargi the foremost of those who had had the realization of God, entered the august body of sages and offered their salutations by prostrating themselves. Then Gargi started addressing the great sage Yājñavalkya.

Gargi said: ‘O Lord, you know the essence of all the branches of learning and are always engaged in work benefecial to all creatures. So I pray to you to duly explicate to me the philosophy of yoga with all its ancillaries.’

Yājñavalkya, being thus asked by his wife in the midst of the assemblage, glanced at all the sages and started speaking. Bhagavan Yājñavalkya said: ‘O Gargi, foremost among those who have realized Brahman, do please rise, God bless you. I am going to tell you the essence of that yoga which was explained by the Lord of Creation, Brahma, in ancient times. You should listen to what I say with a steadfast mind and complete attention.

‘One day Brahma, the creator of the entire universe, was resting on his lotus-seat, and I approached him and worshipped him with salutations and hymns. I asked him the very things that you are asking: “O Lord, O Master of the universe, unfold to me that great occult knowledge, with due solemnity, of the work which will lead me to everlasting liberation.” After I had said thus, Brahma, who is the Lord of Creation and the creator of his own self, was pleased to look at me and started discoursing on the philosophy of knowledge and the philosophy of action.'<ref>Yogi-Yājñavalkya, ed. Upendranath Mukhodhyaya (Kolkata: Basumati), 1–5. </ref>

== The Preceptor of Jnana ==

Since time immemorial a particular type of mind has been very keen on discriminative dialectics. Perfection of this system resulted in the evolution of an independent system of yoga called jnana yoga. Doubts give rise to questions, questions goad one on to inquiry, inquiry involves argumentation, and it is through argumentation and debate that the validity of a theory is established. Thus, argumentation and dialogue constitute the driving force behind the establishment of the truth of any theory. A truth is termed eternal only when it has been tested by ardent aspirants as well as critics and agnostics.

For this reason, the highest truths have often been brought to light in the scriptures in the form of dialogue. Generally, such dialogues involve the preceptor, the one who knows the Truth, and the disciple who aspires after knowledge. In the Upanishads, the realization of the Self, or the Atman, and the experience of the identity of Atman and Brahman are described as the ultimate human goals. The means of achieving these goals has been stated thus: ''Atma va are drash-tavyah shrotavyo mantavyo nididhyasitavyo''; the Self should be realized—should be heard of, reflected on, and meditated upon<ref>Brihadaranyaka Upanishad,4.5.6.</ref>. The Vedantic sadhanas are: ''shravana, manana, nididhyasana''—hearing, reflection, and meditation. The Truth is to be heard of from the guru and the Shastras, to be reflected on, and meditated upon. Manana, or reflection, is the process in which this argumentation and dialogue come in.

In the ''Brihadaranyaka Upanishad'' there is an enlightening dialogue between Yājñavalkya and his wife Maitreyi, in which profound truths are discussed. Shastra enjoins that every man should give up the world when he becomes old. Yājñavalkya, having decided to renounce the householder’s life for the hermit’s, willed to divide his worldly possessions between his two wives. Katyayani was satisfied with her share, but Maitreyi asked her husband to confer the knowledge which would make her immortal. Yājñavalkya said to his wife, ‘My beloved, here is all my money and my possessions, I am going away.’ She replied, ‘Sir, if I had this whole earth full of wealth, would that give me immortality?’ Yājñavalkya said, ‘No, it will not. You will be rich, and that will be all; but there is no hope of immortality through wealth.’ Maitreyi continued, ‘What should I do to gain that through which I shall become immortal? Tell me that.’ Yājñavalkya was pleased. He said, ‘You have always been my beloved; you are more dear now because of this question Come, take your seat, and I will tell you; and when you have heard, meditate upon it’ <ref>Brihadaranyaka Upanishad,2.4.1–4</ref>.

With a view to teaching renunciation as a means to immortality, Yājñavalkya seeks to awaken detachment for worldly relations, wealth, and other attachments. He drives home the truth about the Self:

'Not for the sake of husband, is the husband dear, but for one’s own sake he is dear; not for the sake of wife, is the wife dear, but for one’s own sake she is dear; not for the sake of sons, are sons dear, but for one’s own sake they are dear; not for the sake of wealth, is wealth dear, but for one’s own sake it is dear; not for the sake of the brahmana, is the brahmana dear, but for one’s own sake the brahmana is dear; not for the sake of the kshatriya, is the kshatriya dear, but for one’s own sake the kshatriya is dear; not for the sake of the worlds, are the worlds dear, but for one’s own sake the worlds are dear; not for the sake of the gods, are the gods dear, but for one’s own sake the gods are dear; not for the sake of the beings, are the beings dear, but for one’s own sake the beings are dear; not for the sake of all, all is dear, but for one’s own sake all is dear. Therefore, the Self should be realized—should be heard of, reflected on, and meditated upon.' <ref>Brihadaranyaka Upanishad, 2.4.5</ref>.

By the realization of the Self, through hearing, refection, and meditation all this is known. Only thus is it realized. When these three means are combined, only then is true realization of the unity of Brahman accomplished, not otherwise. The word ‘all’ emphasizes that the Self alone is dear, and nothing else.

The statement has been made that every love is selfishness in the lowest sense of the word: because I love myself, therefore I love another; it cannot be. There have been philosophers in modern times who have said that self is the only motive power in the world. That is true, and yet it is wrong. But this self is but the shadow of the real Self which is behind. It appears wrong and evil because it is small. That infinite love for the Self, which is the universe, appears to be evil, appears to be small, because it appears through a small part. Even when the wife loves the husband, whether she knows it or not, she loves the husband for that Self. It is selfishness as it is manifested in the world, but that selfishness is really but a small part of the Self-ness. Whenever one loves, one has to love in and through the Self. This Self has to be known. What is the difference? Those that love the Self without knowing what It is, their love is selfishness. Those that love, knowing what that Self is, their love is free; they are sages.<ref>The Complete Works of Swami Vivekananda, 9 vols(Calcutta: Advaita Ashrama,1–8,1989; 9,199 2.417.) </ref>

Yājñavalkya continues: ‘Whoever knows the brahmana as other than the Self, the brahmana deserts that being.’ Similarly, the kshatriya, the worlds, the deities, the beings, and the universe desert the one who considers them as being other than the Self. Therefore, ‘the brahmana, the kshatriya, the worlds, the gods, the beings, and all this are none but the Self, indeed’.<ref>Brihadaranyaka Upanishad, 2.4.6. </ref>

Everything is the Self because everything springs from the Self, is resolved into it, and remains imbued with it during the span of its manifestation, for nothing can be perceived apart from the Self. The Self, being pure Intelligence, makes everything intelligible.

Every time we particularize an object, we differentiate it from the Self. As soon as we get attached to anything in the universe, detaching it from the universe as a whole, from the Atman, there comes a reaction. With everything that we love as being ‘outside the Self ’, grief and misery ensues. If we enjoyed everything in the Self, and as the Self, there would be no misery or reaction. This is perfect bliss. How does one apprehend this ideal? In an infinite universe, how does one take every particular object and look upon it as the Atman, without knowing the Atman?

Yājñavalkya addresses this doubt next: 'When a drum or a conch or a vina resounds, the particular notes or sounds cannot be distinguished from the wholeness of the great sound, for the individual notes are nothing but indistinguishable components of the overall music. Similarly, all particulars perceived in the waking and dream states are underpinned by the Intelligence or Consciousness which is the very nature of the Atman. So waking and dream states do not exclude the omnipresent Atman; rather, these two states merge into the all-pervading Atman.

Again, just as different streams of smokes as well as sparks and flames issue forth from a fire kindled with wet faggots, in the same way the Vedas, Upanishads, history, mythology, arts, philosophical aphorisms, and their explanations—all emerge from Brahman, much like breath issuing from the nostrils.' <ref>Brihadaranyaka Upanishad, 2.4.7–10</ref>.

Therefore, it may be understood that the universe, at the time of its origin, as also prior to it, is nothing but Brahman. Moreover, it is not only at the time of its origin and continuance that the universe, on account of its non-existence apart from pure Intelligence, is Brahman, but it is so at the time of dissolution as well. Just as bubbles of foam have no existence apart from the water from which they are generated, even so name, form, and activity, which are derived from pure Intelligence and again merge in it, are non-existent apart from this Intelligence or Brahman. Yājñavalkya illustrates this fact thus:

'As the sea is the one goal of all waters, the skin of all touch, the nostrils of all smell, the tongue of all tastes, the eye of all forms, the ear of all sound; the mind of all deliberations, and the intellect of all knowledge; as the hands are the one goal of all work, the organ of generation of all enjoyment, the anus of all excretory function, the feet of all locomotion, and the organ of speech of all the Vedas; as a lump of salt dropped into water dissolves in it and cannot be picked up in its original form, though its salinity is found everywhere in the water, even so the great endless infnite Reality is but pure Intelligence. The self emerges as a separate entity on the conglomeration of the elements, and is destroyed with them. On being merged into pure Intelligence, it goes beyond the bondage of the name and form that is its individuality.' <ref>Brihadaranyaka Upanishad, 2.4.11–12</ref>.

These similes reveal the existence of objects as entities distinct from the Reality is a delusion engendered by contact with the limiting adjuncts of the body and the senses. These objects will ultimately enter their cause, the great Reality, the supreme Self—signified by the sea—which is undecaying, immortal, beyond fear, pure, and homogeneous, and which is pure Intelligence: infinite, boundless, without breaks, and devoid of the differences caused by the delusion born of ignorance. When that separate existence merges in its cause, when the differences created by ignorance are gone, the universe becomes one without a second, ‘the great Reality’.<ref>See The Brihadāranyaka Upanishad, trans. Swami Madhavananda (Kolkata: Advaita Ashram 2004), 256. </ref>

Swami Vivekananda remarks:
We get the idea that we have all come just like sparks from Him, and when we know Him, we go back and become one with Him again. We are the Universal.

Maitreyi became frightened, just as everywhere people become frightened. Said she, ‘Sir, here is exactly where you have thrown a delusion over me. You have frightened me by saying there will be no more gods; all individuality will be lost. There will be no one to recognize, no one to love, no one to hate. What will become of us?’<ref>Complete Works of Swami Vivekananda, 2.419.</ref>

Yājñavalkya clarifes: ‘Maitreyi, I do not mean to puzzle you. When there is duality, then one smells something, one sees something, one hears something, one speaks something, one thinks something, and one knows something. But when to a knower of the Self everything becomes the Self, then through what—and what object—does one smell or see or hear or speak or think or know? How is it possible to know the knower?’,<ref>Brihadaranyaka Upanishad,2.4.13–14. </ref>

All things through the Atman. The Atman can never be the object of knowledge, nor can the knower be known; because it is in and through the Atman that everything is known.

So far the idea is that it is all One Infinite Being. That is the real individuality, when there is no more division, and no more parts; these little ideas are very low, illusive. But yet in and through every spark of the individuality is shining that Infinite. Everything is a manifestation of the Atman. How to reach that? First make the statement, just as Yājñavalkya himself says: ‘The Atman is first to be heard of.’ So he stated the case; then he argued it out, and the last demonstration was how to know That, through which all knowledge is possible. Then, last, it is to be meditated upon. He takes the contrast, the microcosm and the macrocosm, and shows how they are rolling on in particular lines, and how it is all beautiful. All that is bliss, even in the lowest sense, is but the reflection of Him. All that is good is His reflection, and when that reflection is a shadow, it is called evil.

That one sweetness is manifesting itself in various ways. There is no sweetness but He. These ideas are very helpful to men; they are for meditation. For instance, meditate on the earth; think of the earth and at the same time know ''That'' which is in the earth, that both are the same. Identify the body with the earth, and identify the soul with the Soul behind. Identify the air with the soul that is in the air and that is in me. They are all one, manifested in different forms. To realize this unity is the end and aim of all meditation, and this is what Yājñavalkya was trying to explain to Maitreyi.<ref>Complete Works of Swami Vivekananda, 2.419–22. </ref>

==His Works==
Yājñavalkya composed several texts including
* Brihadaranyaka Upanishad
* Yājñavalkya Smriti
* Yājñavalkya Shakha
* Pratijna Sutra
* Satapatha Brahmana
* Yoga-Yājñavalkya

== References ==

{{reflist}}

Large parts of this article were taken from
* "The Story of Yājñavalkya", Swami Ritananda, Prabhuddha Bharata, September 2008 edition [https://advaitaashrama.org/pb_archive/2008/PB_2008_September.pdf] edition. Reprinted with permission.
* "Sage Yājñavalkya", Lives of Saints, Sri Swami Sivananda [http://www.dlshq.org/saints/yajnavalkya.htm]

[[Category:Sages]]

Sanskrit

2009-09-29T13:41:57Z

K. Ravindranath:

By [[User:Krishna Maheshwari|Krishna Maheshwari]]

'Samskritam' also mentioned as Sanskrit is the oldest living language of the world today and one of the earliest ancient languages. The name 'Sanskrit' means complete, perfect. It is comprised of the words ''Sam'' (entirely, wholely, or perfectly) and ''krtam'' (create, done)<ref>[http://www.encyclopediaofauthentichinduism.org/articles/30.2.htm The six unmatched features of the Sanskrit language]</ref>. Sanskrit is more than just a language that is used in the spoken or written form. When used in the scriptures, the resultant vibrations are also engineered to positively impact consciousness.

Among the currently recognized ancient languages, like Latin or Greek, Sanskrit is the only language which has retained its purity. Its structure and vocabulary has remained unchanged over the thousands of years it has existed.

The oldest literature of the world, the [[Vedas]], the Puranas and the Ithihasas, are still available in the same form that they were written in at the very beginning. There are many, many scholars who can interpret them today, much the same way great scholars of India did years ago. Such interpretation comes not by merely studying earlier known interpretations but through a steady process of assimilation of knowledge linking a variety of disciplines via Sanskrit.

==A Modern Langauge==
Sanskrit is as modern as any language can be and continues to be a spoken language. The grammar of Sanskrit is precise and remains well defined. Several academics have stated that Sanskrit is the best language for use with computers due to it being the only human language which has a fully defined grammar and a context-free grammar<ref>Context-free grammar is a term used by computer scientists to describe languages in which non-terminals can be rewritten without regard to the context in which they occur.</ref>. Its grammar was fully described by Pāṇini, who composed 4,000 rules for Sanskrit morphology. The grammar for Sanskrit is complete -- they fully describe Sanskrit morphology, without any redundancy<ref>This grammar was described in 4000 sutras by Pāṇini, and as a result, he is now considered to be the father of computing machines</ref>. Metarules, transformations and recursions are used with such sophistication that Sanskrit grammar has the computing power equivalent to that of a Turing machine<ref>Turing machines are basic abstract symbol-manipulating devices which, despite their simplicity, can be adapted to simulate the logic of any computer algorithm. They are important in Computer Science and used to gain insights into computer science and complexity theory.</ref>.

Sanskrit, the vocabulary of which is derived from root syllables, is ideal for coining new scientific and technological terms. The need to borrow words or special scientific terms does not arise.

From the very beginning, scientific principles have been hidden in the verses of the Vedas, Upanishads and the great epics. Concepts and principles seen in present day [[mathematics]] and [[astronomy]], are all hidden in the compositions and treatises of many early scholars.

==Linguistics==
The precise and extremely well defined structure of Sanskrit, coupled with its antiquity offers a number of areas in linguistics research, including Computational Linguistics. It is also unique due to the fact that it is the only known language which has a built-in scheme for pronunciation, word formation and grammar.

==Philosophy and Theology==
Sanskrit abounds in Philosophy and Theology-related issues. There are so many words one encounters within Sanskrit that convey subtly differing meanings of a concept that admits of only one interpretation when studied with other languages. The language thus has the ability to offer links between concepts using just the words.

==Emotional Expression==
The connoisseurs of the Sanskrit language know that it is the language of the heart. Whatever be the emotion one wishes to display, be it devotion, love, affection, fear, threat, anger, compassion, benevolence, admiration, surprise and the like, the most appropriate words of Sanskrit can flow like a gushing stream.

==Definitions in [[Vedanga]]==
Sanskrit is co-original with the [[Veda]]. The Veda cannot be studied without the six [[Vedangas]] of which the first three deal with the spoken aspects of the language. These are Siksha, Vyakarna, and Niruktam.

Siksha, describes how to pronounce the letters of the aksharas. Siksha divides the letters into three classes: Swaras, Vyanjanas and Oushmanas. Depending on the effort (Prayatna), place of origin in the body (Sthana), the force used (Bala) and the duration of time (Kala), the letters differ from each other in their auditory quality and meaning.

The second [[Vedanga]] is Vyakarna<ref>Vyakarna is also considered to be a Darshana. Each [[sound]] is representative of a natural phenomenon, and natural phenomena are described through sounds. The entire description of man's understanding of the universe, nature, and experience are described via the medium of language. Thus, language is a world-view in itself, or a [[Darsana]].</ref>, and is known as the grammar of Sanskrit, which describes meaningful word formations. These word formations are referred to as Sphota, or meaningful [[sound]].

The third Vedanga, Niruktam, describes certain fundamental root words used in the [[Vedas]]. Classification of words into groups of synonyms is an example. For instance, approximately a hundred and twenty synonyms for water are given in Niruktam.

The fourth Vedanga, Chandas, describes the formation of sentences in metrical form. Unlike English, which used a very limited number of metres (basically four), Sanskrit offers about two dozen Vedic metres and innumerable conventional metres.

The remaining two Vedangas, [[Kalpa]] and Jyothisha, deal with space and time.

==The Aksharas (Letters)==
Sanskrit comprises fifty one letters or aksharas<ref>as opposed to alphabet which is a Greek word denoting the first two letters of the Greek: Alpha and Beta. Alphabet has no other meaning except to denote the set of letters in the language.</ref>. Akshara denotes the set of letters of Sanskrit from the first to the last. It also means that the sounds of those letters does not ever get destroyed, and thus signifies the eternal quality of the sound of those letters. As a result, the sound of a word is essentially the sounds of the aksharas in the word.

There are two aspects of non destruction:
# the phonetic characteristics of the language, i.e., in any word, the aksharas retain their sound.
# the aksharas retain their individual meanings in composed words. For example, the word "guru", consisting of the aksharas "gu" and "ru", stands for a teacher -- one who dispels darkness (ignorance) of the the mind (person). "gu" means darkness and "ru" means the act of removal.

The basic unit is a word-root. In Sanskrit, words are derivatives, unlike other languages where the word is considered to be the basic unit. Words have dhatu and pratyaya. All roots are verbs and there is no real concept of proper nouns. As a result, all words are complete verbs and do not have to depend on adjacent words for their meaning. So, it is the words in the sentence that matter, and not their order, resulting in a more structured language. For example, we can put the words "Ram ne" "Ravan ko" "maara" (in English: "[[Rama]]", "killed" and "Ravana") in any order, without changing the meaning. In other languages, these words have to be in order; changing the order drastically changes the meaning of the sentence.

==Script==
Sanskrit is commonly written using the Devanāgarī script today and over the past few hundred years. Historically, it has been written using the local script common at the time and place of a document's writing. For example, Ashoka's pillar inscriptions were made using the Brahmi script. Later, Grantha was used, as were other scripts such as Kannada and Bengali.

==References & Notes==
{{reflist}}

Pradosha Kalam

2009-09-29T13:32:15Z

K. Ravindranath:

{{Author|Ramanathan V. Periyagaram}}

Pradosha Kaalam is that period of time during which '''[[Lord Shiva]]''' is known to have evolved out of His unsteady state (due to the effect of the poison he had consumed) and performing Ananda Thandava on top of his Rishabha Vahana (Sacred Nandi Bull). During this pradosha time, '''Lord [[Shiva]]''' is known to be in the most ecstatic of moods as he has been successful in saving mankind from the ill effects of the Poison 'hala'. His Ananda Thandava blesses all the three worlds and the Devathas in turn pray to him.

Lord Shiva is known to be very generous giving away Vardhan (boons), although, he would test his devotees to the core. To those devotees who pray to him during the Pradosha Kaalam, duly observing fast, performing [[puja]], chanting of [[Rudram]], visiting sacred places of interest, He brings prosperity and happiness in life.

Pradosha Kalam falls on the 13th lunar day of Trayodashee during the shukla and [[krishna]] pakshas, waxing and waning fortnights in the [[Hindu]] calendar months. If, the period between sunset to next sunrise is divided into 5 equal parts, the first part is called Pradosha Kalam and it denotes the end of day time and the beginning of night. This is also called the period of Asuras (Raaksha Neram). It is believed that each day of the week has different benefits during Pradosh time:

;Sunday(Bhaanu Vaara Pradosha): Peace to all (Mangalam to all)
;Monday(Indu Vaara Pradosha): Positive (perception) thinking
;Tuesday (Bhauma Vaara Pradosha): No Poverty (Prosperity to all)
;Wednesday(Saumya Vaara Pradosha): Blessings with progeny, Knowledge and education
;Thursday(Guru Vaara Pradosha): Divine blessings through the Pitru's, all dangers will be eliminated
;Friday(Bhrgu Vaara Pradosha): Nullifying (negativeness) opposition
;Saturday(Sthira Vaara Pradosha): Elevation (promotion) getting back the lost wealth

Mahaa Pradosh Kalam comes yearly during the month of Maagh/Maashi (U’ma’ +’Shi’Va) before Mahaa Shiv Raatri. If the Mahaa Pradosha comes on Saturday, it is called Shani MahaA Pradosha. Saturday is the day when Lord [[Shiva]] swallowed poison and this is called Shani (Sthira in Samskritam) Pradosha. It is categorized into three categories of importance depending upon the month on which Pradosha falls:

# Uttama Sthira Pradosha - ''Maximum power'' - The Sthira Pradosha that comes during the months of Chaitra, Vaishaakh, Aashaadh and Kaartik during the Growing Lunar Cycle (Shukla Paksha), i.e from New to Full moon period.

# [[Madhyama]] Sthira Pradosha - ''Normal power'' - The Sthira Pradosha that comes during the months of Chaitra, Vaishaakh, Aashaadh and Kaartik during Diminishing Lunar Cycle (Krishn Paksha), ie Full to New moon period.

# Adhama Sthira Pradosha - ''Minimum power'' - All the other Sthira Pradosha. The Pradosh that falls on any Saturday is called MahaA Pradosha (Sthira Pradosh).

== Soma-sUtra-pradakshiNam ==
During Pradosha Kala, Lord Shiva is supposed to be very powerful and happy. Unlike normal days/times during Pradosha kalam, a special type of circumambulation called '''Soma-sUtra-pradakshiNam''' is practiced in Shiva [[temples]]. The importance of Soma-sUtra-pradakshiNam is that the gomukhi (place where the water after anointing - abhiSheka tIrtam- would be flowing northwards out) is never crossed during circumambulation of the Lord. By doing this way of pradakshiNam one does not step over this holy water. The following order of Circumambulation is practiced for a single turn:

1)RiShabham-ChaNdIchar-RiShabham-Gomukhi
2)RiShabham-ChaNdIchar-Gomukhi
3)RiShabham-ChaNdIchar-RiShabham- RiShabham

Prakriti in Ayurveda

2009-07-30T01:44:40Z

K. Ravindranath:

{{Author|Sangeetha Rajah}}

[[Ayurveda]] accepts the view of Saankhya with regard to Srshti and Laya and Pramaanas. Purusha (chetana), along with Prakrti (sakti) is responsible for natural disposition of everything in this universe. Prakrti manifests itself in individuals differently according to different proportions of the three gunas Satva, Rajas and Tamas, which are but transformations of Prakrti.

In Ayurveda, this Prakrti represents the physical and mental constitution of an individual. A state of disease occurs whenever there is a deviation from the normal physical or mental constitution of a human being. Prakrti is employed to appreciate the nature of an individual and recognize the changes that occur due to disease, where there is a deviation from Prakrti.

==Formation of Prakrti==
Ayurveda believes that the temperament of a human is genetic in origin. Prakriti or Constitution is formed at the time of union of sperm and ovum inside the womb. Predominance of the [[three doshas]], the five elements and the three gunas at the time of fertilization determines our physical and mental traits. Different individuals have different combinations of these doshas and gunas and hence each individual will have a unique Prakrti, just like each of us has a unique finger print.

Once formed, Prakrti remains constant for every individual for his entire lifetime. This Prakrti decides the disease tendency of an individual. Every individual is subjected to the constant interaction with his or her environment which will affect the person's constitution at any time. The body will try to maintain a dynamic equilibrium or balance with the environment. Although it reflects our ability to adjust to life's influences and is always changing, it should match our Prakrti or inborn constitution, as closely as possible.

==Prakrti and Vikrti==
If the current proportion of our doshas differs significantly from our constitutional proportion, it indicates imbalances, which in turn can lead to illness. This deviation from Prakrti is called Vikrti. The farther our Vikrti is from our Prakrti, the more ill-prone we are.

The concept of Prakrti and Vikrti can be illustrated by reference to our body temperature. When healthy, we maintain an average body temperature of about 98* F. Although, different persons can have different base temperatures, it does not change much so long as the person is healthy. When we go outside on a winter day, our body temperature may go down slightly but will pick right back up to the normal if we are healthy. Similarly, jogging on a hot day can temporarily raise our body temperature. When we are sick, or catch a cold, our body temperature will go up. This indicates that we are sick or outside our normal base condition. Our present temperature may be considered as Vikrti and the difference between the Prakrti (our normal temperature) and Vikrti (our present temperature) can determine whether any medical intervention is required.

== Prakrti, the [[Three Doshas]] and The Three Gunas ==
The three doshas Vaata, Pitta and Kapha are composed of the five basic elements. On the other hand, the five elements possess one or more of the three gunas namely Satva, Rajas and Tamas.

According to Susruta Samhita, Aakaasa is predominant of Satva [[guna]] while Vaayu is predominant of Rajas. Agni is predominant of Satva and Rajas while Jala is predominant of Satva and Tamas. Prthvi is predominantly Taamasic.

{|class="wikitable"
!Dosha
!Basic Elements
!Predominant Guna
|-
| VAATA
| Vaayu, Aakaasa
| Rajas
|-
| PITTA
| Agni, Jala
| Satva
|-
| KAPHA
| Prthvi, Jala
| Tamas
|-
|}

As the entire universe is paancabhautika in nature, the food we eat and the activities we perform do have an impact on the proportions of the tridoshas and hence the five elements in our body. Thats why we say “You are what you eat “.

== Types of Prakrti ==
Basically, Prakrti has been classified into two as

# Saareerika - bodily and
# Maanaseeka – mental

Based on the three doshas and their physical and physiological qualities, the Saaeerika Prakrti has been classified into seven namely

# Vaata
# Pitta
# Kapha
# Vaata – Pitta
# Pitta – Kapha
# Kapha – Vaata and
# Tridoshaja or Sannipaata

Based on the three gunas and their emotional, behavioral, cognitive and mental abilities and qualities, the Maanaseeka Prakrti has been classified into three namely

# Saatvika
# Rajasiaka and
# taamasika

In order to understand a person, it is necessary to first determine his or her Prakruti. By understanding the prakrti of a person, a vaidya is able to detect the changes in the Prakrti of the person. Using prakrti as base, he then diagnoses the disease employing some other factors (which will be dealt with later).

Irrespective of whether we are healthy or diseased, knowing our prakrti helps us to know ourselves better and live a healthy and peaceful life.

Given below is a table containing the characteristics of the different types of prakrtis.

==Physical Traits==
{| class="wikitable"
!TRAIT
!VAATA
!PITTA
!KAPHA
|-
| Body frame
| thin
| medium
| hefty
|-
| Finger nails
| cracking and thin
| pink and soft
| wide, white and thick
|-
| Hair
| thin and dry
| grey and bald
| silky, curly and dense
|-
| Resting pulse (early morning or before breakfast)
| 80 - 100
| 70 - 80
| 60 - 70
|-
| Weight
| low and bony
| medium and muscular
| often overweight
|-
| Bowel movements
| small, hard, with gas, frequently constipated
| loose and burning
| moderate and solid
|-
| Forehead size
| small
| medium,
| large
|-
| Appetite
| irregular
| strong and sharp
| constant and poor
|-
| Eyes
| small and unsteady
| reddish and cat eyed
| wide with large white part (sclera)
|-
| Lips
| thin and crackin
| medium and soft
| large and smooth
|-
| Skin
| Dry
| cherished and wrinkles
| oily and smooth
|-
| Voice
| stammering and weak
| commanding and sharp
| soft, sweet and resonating
|-
| Which most bothers you ?
| cold and dry
| heat and sun
| cold and damp
|-
|}

==Mental Traits==
{| class="wikitable"
!TRAIT
!VAATA
!PITTA
!KAPHA
|-
| Temperament
| nervous or fearful
| irritable or impatient
| easygoing
|-
| Speech
| quick or talkative
| moderate or argues
| slow or silent
|-
| Sleep pattern
| less and disturbed
| moderate
| sleepy and lazy
|-
| Habit
| travel
| sports or politics
| enjoying water and flowers
|-
| Memory
| quickly grasps, soon forgets
| sharp and clear
| slow to learn, never to forget
|-
| Beliefs
| radical or changing
| leader and goal oriented
| loyal and constant
|-
| Dream
| flying and anxious
| fighting and colourful
| few and romantic
|-
| Emotion
| enthusiastic but full of worries
| warm and angry
| calm and attached
|-
| Mind
| quick and adaptable
| penetrating and critical
| slow and lethargic
|-
|}

It is very rare to find an Eka prakrti – person predominant of only one dosha like kevala vaata prakrti. Most of us are Dvandva or Dvidoshaja or dual prakrtis like Vaata – pitta, Pitta – kapha or Vaata – kapha. A person with all the three doshas in equal proportion is called Samadosha or tridoshaja prakrti.

Any food we intake increases or decreases one dosha or the other in our body. Similarly do all our activities. For instance, vaata prakrti persons intaking more vaata predominant foods are likely to suffer disorders of vaata origin. If we eat in line with our prakrti needs, we can lead a healthy life.

== References ==
* [http://www.holisticonline.com/ayurveda/ayv-basis-prakruti-and-vikruti.htm]
* [http://ayurveda-foryou.com/clinical_ayurveda/prakriti6.html]

[[category:Ayurveda]]

Pallikondeswara Swamy Surutapalli Devasthanam

2009-07-29T13:27:36Z

K. Ravindranath:

{{Author|Ramanathan V. Periyagaram}}

The Pallikondeswarar Swamy Surutapalli Temple is located in Andhra Pradesh state and is approximately 2 kms from Uthukottai in the Chennai-Periyapalayam-Tirupati road. Pradosha is celebrated with great shradha, popularity and vigour here and as per beliefs, it was here where practice of celebrating [[Pradosha Kalam]] started in origin.

It is a unique [[Shiva]] temple since Shiva is seen to be in a reclining pose on the lap of Goddess Parvathi similar to [[Vishnu]]'s Ananthasayana pose. This place is also sacred with stones carrying foot marks of Lava & Kusa being traced to period of [[Ramayana]]. Dakshinamoorthy is considered very powerful and popular to offer prayers here. Goddess Parvathi is called Marahathambikai and is very beautiful along the side of Valmikiswarar Syambhu Lingam. Kanchipuram [[Sankara]] Paramacharya is considered to have spent lot of time here meditating and he is the person who traced this place to Ramayana period findings.

== Location Of Temple ==
Suruttapalli village is approx. 60 from Chennai in the Thirupathi (Balaji) route via Uthukottai. One can get into the Chennai - Kolkatta Grand North Trunk (GNT) Road first which can be reached either by Guindy-Koyampedu-Padi-Redihills route or Parry-Basinbridge-Perambur-Madavaram-Redhills route. At GNT Road you will come across the Karanodai bridge and immediately after, the Toll Plaza the road to the left here goes to Periyapalayam, Uthukottai, Nagalapuram and Thirupathi. Take this road to Periyapalayam and at Periyapalayam take the left side road that goes through a bridge to Uthukottai (famous from Devi). From Uthukottai, the temple is just 2 kms away and is on the main road itself. Practically it is at the end of the Uthukottai town which is the border between Tamilnadu and Andhra. The temple is in Andhra state.

== [[Purana]] Legend ==
Once Devaraj Indra, the King of Gods, while riding on his white elephant Iravatha came across Sage Durvasa who offered him a special garland. Indra accepted the garland but without giving much importance he gave it to his elephant. Iravatha was irritated by the smell of the flowers in the garland and therefore threw the garland on the floor and stamped on it. This act enraged sage Durvasa as he got the garland from “Sridevi” as prasada. Immediately Durvasa cursed Indra and all devas to be bereft of all strength, energy, and fortune.

Due to this curse, in the battles that followed Devas were defeated and Asuras led by Mahabali chakravarthy, gained control of the universe. Devas sought help from Lord [[Vishnu]] who advised them to take the path of diplomacy with Asuras and the only way to regain lost glory was to drink Amrutham/nectar. Devas came to an agreement with asuras to jointly churn the ocean for the nectar of immortality and to share it among them. However, Lord Vishu told Devas that he would ensure Amrutha (Nectar) does not get to Asuras.

During the Samudra Mathan (churning) of the Ocean of Milk Mount Mandaranchal was used as the dasher (churning tool), and Vasuki, the king of serpents, became the churning rope. The gods held the tail of the snake, while the demons (Asuras) held its head, and they pulled on it alternately causing the mountain to rotate, which in turn churned the ocean. However, once the mountain was placed on the ocean, it began to sink. With request from both Devas and Asuras Lord Vishnu took the form of a turtle (Kurma avatara), came to their rescue and supported the mountain on his back.

Poison was the first to come when churning started and this terrified the Devas and Asuras because, the poison was so toxic that it might have destroyed all of creation. On the advice of Vishnu, both Devas and Asuras approached [[Shiva]] for help and protection. Out of compassion for living beings, Shiva drank the poison. It was so potent that it changed the color of Shiva's neck to blue and therefore he is also called Neelakantha (the blue-necked one, nīla = "blue", kantha = "throat"). Parvati immediately realized the deeds of Shiva and put her hand to stop the Kalakutta poison from entering [[Lord Shiva]]’s body. Lord Shiva felt very dizzy and lay down with his head on Parvathi’s lap and the whole world went dark. [SURUTAPALLI TEMPLE IN ANDHRA PRADESH] JUST ACROSS TAMIL NADU BORDER BUILT BY HARI HARA BUKKARAYA DEPICTS THIS AND IS THE ONLY PLACE IN THE WORLD WHERE [[LORD SHIVA]] IS IN THE FORM OF SAYANAM (NORMALLY VISHNU'S FORM IN [[TEMPLES]]). As soon as the effect of poison diminished and Lord Shiva came back to normalcy all Devas and Asuras wanted to have his Darshan. When they approach Nandi (Sacred Bull) for permission to see Lord Shiva, Nandi refused and asked them to pray and wait since, Lord Shiva and Parvati were together. With prayers from devas and asuras, Lord Shiva gave them Darshan doing Ananda Thandavam on top of the forehead of Rishaba Vahana. This period when Lord Shiva gave them Darshan is known as [[Pradosha Kalam]].

Talk:Overview

2009-07-20T02:20:21Z

K. Ravindranath:

==Nine Beliefs==
{| class="wikitable" style="width:100%"
|style="font-size:25pt;" width="2%"| 1
|style="font-size:15pt;line-height:100%;text-align:left" width="40%"|Reverence for Our Revealed Scriptures
||The [[Veda]] is of divine origin. These primordial hymns are God's word and the bedrock of Sanatana [[Dharma]].
|-
|style="font-size:25pt;"| 2||style="font-size:15pt;line-height:100%;text-align:left"|All-Pervasive Divinity||There is one, all-pervasive Supreme Being who is both immanent and transcendent, both Creator and Unmanifest Reality
|-
|style="font-size:25pt;"| 3||style="font-size:15pt;line-height:100%;text-align:left"|Three Worlds and Cycles of Creation||There are three worlds of existence--physical, astral, and causal--and the universe undergoes endless cycles of creation, preservation, and dissolution.
|-
|style="font-size:25pt;"| 4||style="font-size:15pt;line-height:100%;text-align:left"|Laws of [[Karma]] and Dharma||Karma, the law of cause and effect by which each individual creates his own destiny by his thoughts, words, and deeds--and in dharma, righteous living.
|-
|style="font-size:25pt;"| 5||style="font-size:15pt;line-height:100%;text-align:left"|Reincarnation and Liberation||The soul reincarnates, evolving through many births until all karma has been resolved, and [[moksha]] (spiritual knowledge and liberation from the cycle of rebirth) is achieved. Not a single soul will be eternally deprived of this destiny.
|-
|style="font-size:25pt;"| 6||style="font-size:15pt;line-height:100%;text-align:left"|[[Temples]] and the Inner Worlds||Divine beings exist in unseen worlds and temple worship, rituals, sacraments as well as personal devotionals create a communion with these devas and Gods.
|-
|style="font-size:25pt;"| 7||style="font-size:15pt;line-height:100%;text-align:left"|[[Yoga]] Guided by a Guru||A spiritually awakened master, or guru, is essential to know the Transcendent Absolute, as are personal discipline, good conduct, purification, pilgrimage, self-inquiry, and meditation.
|-
|style="font-size:25pt;"| 8||style="font-size:15pt;line-height:100%;text-align:left"|Compassion and Noninjury||All life is sacred, to be loved, and revered; and therefore practice ahimsa, "non-injury"
|-
|style="font-size:25pt;"| 9||style="font-size:15pt;line-height:100%;text-align:left"|Diversity of Paths||There are a variety of paths that lead to salvation. Although the goal is one, the sages call it by different names and means.
|-
|}

~~Proposed Article Title--"What is a Hindu"?~~
By Satguru Bodhinatha Veylanswami

Hinduism is a diverse tradition and very different from other monolithic religions. There isn’t a one Hindu opinion on things. And there is no single spiritual authority to define matters of the faith. There are several different denominations, the four largest being Vaishnava, Saiva, Shakta and Smartha. Further, there are numberless schools of thought, or sampradayas, expressed in tens of thousands of guru lineages, or paramparas. Each is typically independent and self-contained in its authority. In a very real sense, this grand tradition can be defined and understood as ten thousand faiths gathered in harmony under a single umbrella called Hinduism, or Sanatana Dharma. The tendency to overlook this diversity is the common first step to a faulty perception of the religion. Most spiritual traditions are simpler, more unified and unambiguous.

All too often, despite its antiquity, its profound systems of thought, the beauty of its art and architecture and the grace of its people, Hinduism remains a mystery. Twisted stereotypes abound that would relegate this richly complex, sophisticated and spiritually rewarding tradition to little more than crude caricatures of snake-charmers, cow-worshipers and yogis lying on beds of nails.

Fortunately, there is an easier, more natural way to approach the vastness of Hinduism. From the countless living gurus, teachers and pundits who offer clear guidance, most seekers choose a preceptor, study his teachings, embrace the sampradaya he propounds and adopt the precepts and disciplines of his tradition. That is how the faith is followed in actual practice. Holy men and women, counted in the hundreds of thousands, are the ministers, the defenders of the faith and the inspirers of the faithful.

==Four basic principles==
[[image:Family Doing Puja.jpg|thumb|400px|A young family share in morning puja, as father performs the traditional rite of worship, honoring and invoking the blessings of Lord Ganesh.]]
One way to gain a simple (though admittedly simplistic) overview is to understand the four essential beliefs shared by the vast majority of Hindus: karma, reincarnation, all-pervasive Divinity and dharma. We could say that living by these four principles is what makes a person a Hindu.

; Karma: Karma literally means “deed” or “act” and more broadly names the universal principle of cause and effect, action and reaction which governs all life. Karma is a natural law of the mind, just as gravity is a law of matter. Karma is not fate, for man acts with free will, creating his own destiny. The Vedas tell us, if we sow goodness, we will reap goodness; if we sow evil, we will reap evil. Karma refers to the totality of our actions and their concomitant reactions in this and previous lives, all of which determines our future. It is the interplay between our experience and how we respond to it that makes karma devastating or helpfully invigorating. The conquest of karma lies in intelligent action and dispassionate reaction. Not all karmas rebound immediately. Some accumulate and return unexpectedly in this or other births. The Vedas explain, “According as one acts, so does he become. One becomes virtuous by virtuous action, bad by bad action”<ref>Yajur Veda, Brihadaranyaka Upanishad 4.4.5</ref>.

; Reincarnation: Reincarnation, punarjanma, is the natural process of birth, death and rebirth. At death we drop off the physical body and continue evolving in the inner worlds in our subtle bodies, until we again enter into birth. Through the ages, reincarnation has been the great consoling element within Hinduism, eliminating the fear of death. We are not the body in which we live but the immortal soul which inhabits many bodies in its evolutionary journey through samsara. After death, we continue to exist in unseen worlds, enjoying or suffering the harvest of earthly deeds until it comes time for yet another physical birth. The actions set in motion in previous lives form the tendencies and conditions of the next. Reincarnation ceases when karma is resolved, God is realized and moksha, liberation, is attained. The Vedas state, “After death, the soul goes to the next world, bearing in mind the subtle impressions of its deeds, and after reaping their harvest returns again to this world of action. Thus, he who has desires continues subject to rebirth”<ref>Yajur Veda, Brihadaranyaka Upanishad 4.4.6</ref>.

; All-Pervasive Divinity: As a family of faiths, Hinduism upholds a wide array of perspectives on the Divine, yet all worship the one, all-pervasive Supreme Being hailed in the Upanishads. As Absolute Reality, God is unmanifest, unchanging and transcendent, the Self God, timeless, formless and spaceless. As Pure Consciousness, God is the manifest primal substance, pure love and light flowing through all form, existing everywhere in time and space as infinite intelligence and power. As Primal soul, God is our personal Lord, source of all three worlds, our Father-Mother God who protects, nurtures and guides us. We beseech God’s grace in our lives while also knowing that He/She is the essence of our soul, the life of our life. Each denomination also venerates its own pantheon of Divinities, Mahadevas, or “great angels,” known as Gods, who were created by the Supreme Lord and who serve and adore Him. The Vedas proclaim, “He is the God of forms infinite in whose glory all things are—smaller than the smallest atom, and yet the Creator of all, ever living in the mystery of His creation. In the vision of this God of love there is everlasting peace. He is the Lord of all who, hidden in the heart of things, watches over the world of time” <ref>Krishna Yajur Veda, Shvetashvatara Upanishad 4.14-15</ref>.

; Dharma: When God created the universe, He endowed it with order, with the laws to govern creation. Dharma is God’s divine law prevailing on every level of existence, from the sustaining cosmic order to religious and moral laws which bind us in harmony with that order. In relation to the soul, dharma is the mode of conduct most conducive to spiritual advancement, the right and righteous path. It is piety and ethical practice, duty and obligation. When we follow dharma, we are in conformity with the Truth that inheres and instructs the universe, and we naturally abide in closeness to God. Adharma is opposition to divine law. Dharma is to the individual what its normal development is to a seed—the orderly fulfillment of an inherent nature and destiny. The Tirukural reminds us, “Dharma yields Heaven’s honor and Earth’s wealth. What is there then that is more fruitful for a man? There is nothing more rewarding than dharma, nor anything more ruinous than its neglect.” <ref>Tirukural 31-32</ref>

==Hinduism’s Unique Value Today==
[[image:Kumbamela in Haridwar-Har ki Paudi.jpg|thumb|400px|Kumbha Mela in Haridwar--Har ki Paudi]]
There are good reasons for Hindus and non-Hindus alike to study and understand the nature of Hinduism. The vast geographical and cultural expanses that separate continents, peoples and religions are becoming increasingly bridged as our world grows closer together. Revolutions in communications, the Internet, business, travel and global migration are making formerly distant peoples neighbors, sometimes reluctantly.

It is crucial, if we are to get along in an increasingly pluralistic world, that Earth’s peoples learn about and appreciate the religions, cultures, viewpoints and concerns of their planetary neighbors. The Sanatana Dharma, with its sublime tolerance and belief in the all-pervasiveness of Divinity, has much to contribute in this regard. Nowhere on Earth have religions lived and thrived in such close and harmonious proximity as in India. For thousands of years India has been a home to followers of virtually every major world religion, the exemplar of tolerance toward all paths. It has offered a refuge to Jews, Zoroastrians, Sufis, Buddhists, Christians and nonbelievers. Today over one hundred million Indians are Muslim, for the most part magnanimously accepted by their majority Hindu neighbors. Such religious amity has occurred out of an abiding respect for all genuine religious pursuits. The oft-quoted axiom that conveys this attitude is “Ekam sat anekah panthah,” “Truth is one, paths are many.” What can be learned from the Hindu land that has given birth to Buddhism, Sikhism and Jainism and has been a generous protector of all other religions? India’s original faith offers a rare look at a peaceful, rational and practical path for making sense of our world, for gaining personal spiritual insight, and as a potential blueprint for grounding our society in a more spiritually rewarding worldview.

[[image:Comparative Age of Religions.gif|thumb|400px]]
Hinduism boasts teachings and practices reaching back over 8,000 years, its history dwarfing most other religions. In fact, there is no specific time in history when it began. It is said to have started with time itself. To emphasize the relative ages of the major religions, and the antiquity of Hinduism, Raimon Panikkar, author of The Vedic Experience, cleverly reduced them to proportionate human years, with each 100 years of history representing one year of human life. Viewed this way, Sikhism, the youngest faith, is five years old. Islam, the only teenager, is fourteen. Christianity just turned twenty. Buddhism, Taoism, Jainism and Confucianism are twenty-five. Zoroastrianism is twenty-six. Shintoism is in its late twenties. Judaism is a mature thirty-seven. Hinduism, whose birthday remains unknown, is at least eighty years old—the white-bearded grandfather of living spirituality on this planet.

The followers of this extraordinary tradition often refer to it as Sanatana Dharma, the “Eternal Faith” or “Eternal Way of Conduct.” Rejoicing in adding on to itself the contributions of every one of its millions of adherents down through the ages, it brings to the world an extraordinarily rich cultural heritage that embraces religion, society, economy, literature, art and architecture. Unsurprisingly, it is seen by its followers as not merely another religious tradition, but as a way of life and the quintessential foundation of human culture and spirituality. It is the most accurate possible description of the way things are—eternal truths, natural principles, inherent in the universe that form the basis of culture and prosperity. Understanding this venerable religion allows all people to fathom the source and essence of human religiosity—to marvel at the oldest example of the Eternal Path that is reflected in all faiths.

While 860 million Hindus live in India, forming 85 percent of the population, tens of millions reside across the globe and include followers from nearly every nationality, race and ethnic group in the world. The US alone is home to 2.4 million Hindus, roughly two-thirds of South Asian descent and one-third of other backgrounds.

==Hindu Scriptures==
All major religions are based upon a specific set of teachings encoded in sacred scripture. Christianity has the Bible and Islam has the Koran. Hinduism proudly embraces an incredibly rich collection of scripture; in fact, the largest body of sacred texts known to man. The holiest and most revered are the Vedas and Agamas, two massive compendia of shruti (that which is “heard”), revealed by God to illumined sages centuries and millennia ago. It is said the Vedas are general and the Agamas specific, as the Agamas speak directly to the details of worship, the yogas, mantra, tantra, temple building and such. The most widely known part of the Vedas are the Upanishads, which form the more general philosophical foundations of the faith.

The array of secondary scripture, known as smriti (that which is “remembered”), is equally vast, the most prominent and widely celebrated of which are the Itihasas (epic dramas and history—specifically the Ramayana and Mahabharata) and the Puranas (history). The ever-popular Bhagavad Gita is a small portion of the Mahabharata. The Vedic arts and sciences, including ayurveda, astrology, music, dance, architecture, statecraft, domestic duty and law, are reflected in an assembly of texts known as Vedangas and Upavedas. Moreover, through the ages God-Realized souls, sharing their experience, have poured forth volume upon volume that reveal the wonders of yoga and offer passionate hymns of devotion and illumination. The creation of Hindu scripture continues to this day, as contemporary masters reiterate the timeless truths to guide souls on the path to Divinity.

A clear sign that a person is a Hindu is that he embraces Hindu scripture as his guide and solace through life. While the Vedas are accepted by all denominations, each lineage defines which other scriptures are regarded as central and authoritative for its followers. Further, each devotee freely chooses and follows one or more favorite scriptures within his tradition, be it a selection of Upanishads, the Bhagavad Gita, the Tirumantiram or the writings of his own guru. This free-flowing, diversified approach to scripture is unique to the Hindu faith. Scripture here, however, does not have the same place as it does in many other faiths. For genuine spiritual progress to take place, its wisdom must not be merely studied and preached, but lived and experienced as one’s own.

==The Nature of God==
Some descriptions of Hinduism wrongly state that Hindus do not believe in a one Supreme Being but worship a multiplicity of supreme Gods. A common way that this misconception shows up is in the idea that Hindus worship a trinity of Gods: Brahma, the Creator, Vishnu, the Preserver, and Siva, the Destroyer. To the Hindu, these three are aspects of the one Supreme Being. Indeed, with its vast array of Divinities, Hinduism may, to an outsider, appear polytheistic—a term avidly employed as a criticism of choice, as if the idea of many Gods were primitive and false. But ask any Hindu, and he will tell you that he worships the One Supreme Being, just as do Christians, Jews, Muslims and those of nearly all major faiths. If he is a Saivite, he calls that God Siva. If a Shakta Hindu, he will adore Devi, the Goddess, as the ultimate Divinity. If he is a Smarta Hindu, he will worship as supreme one Deity chosen from a specific pantheon of Gods. If a Vaishnava Hindu, he will revere Vishnu or one of His earthly incarnations, called avatars, especially Krishna or Rama.

Thus, it is impossible to say all Hindus believe this or that. Some Hindus give credence only to the formless Absolute Reality as God; others accept God as personal Lord and Creator. Some venerate God as male, others as female, while still others hold that God is not limited by gender, which is an aspect of physical bodies. This freedom, we could say, makes for the richest understanding and perception of God. Hindus accept all genuine spiritual paths—from pure monism, which concludes that “God alone exists,” to theistic dualism, which asks, “When shall I know His Grace?” Each soul is free to find his own way, whether by devotion, austerity, meditation, yoga or selfless service.

God is unimaginably transcendent yet ubiquitously immanent in all things. He is creator and He is the creation. He is not a remote God who rules from above, but an intimate Lord who abides within all as the essence of everything. There is no corner of creation in which God is not present. He is farther away than the farthest star and closer than our breath. If His presence were to be removed from any one thing, that thing would cease to exist.

A crucial point, often overlooked, is that having one Supreme God does not repudiate the existence of lesser Divinities. Just as Christianity acknowledges great spiritual beings who dwell near God, such as the cherubim and seraphim (possessing both human and animal features), so Hindus revere Mahadevas, or “great angels,” who were created by the Supreme Lord and who serve and adore Him. Each denomination worships the Supreme God and its own pantheon of divine beings. The elephant-faced Lord Ganesha is among the most popular, and is perhaps the only Deity worshiped by Hindus of all denominations. There are Gods and Goddesses of strength, yoga, learning, art, music, wealth and culture. There are also minor divinities, village Gods and Goddesses, who are invoked for protection, health and such earthy matters as a fruitful harvest.

==The Nature of the soul==
What does Hinduism say about the soul? The driving imperative to know oneself—to answer the questions “Who am I?” “Where did I come from?” and “Where am I going?”—has been the core of all great religions and schools of philosophy throughout history. Hindu teachings on the nature of self are as philosophically profound as they are pragmatic. We are more than our physical body, our mind, emotions and intellect, with which we so intimately identify every moment of our life, but which are temporary, imperfect and limiting. Our true self is our immortal soul, the eternal, perfect and unlimited inner essence, a pure being of scintillating light unseen by the human eye, undetectable by any of the human senses, which are its tools for living in this physical world.

Our soul is the source of all our higher functions, including knowledge, will and love. It is neither male nor female. The essence of our soul, which was never created, is immanent love and transcendent reality and is identical and eternally one with God. The Vedas explain, “The soul is born and unfolds in a body, with dreams and desires and the food of life. And then it is reborn in new bodies, in accordance with its former works. The quality of the soul determines its future body; earthly or airy, heavy or light.”

The Vedas teach that the Divine resides in all beings. Our true, spiritual essence is, like God, eternal, blissful, good, wise and beautiful by nature. The joining of God and the soul is known as yoga. We spend so much of our time pursuing beauty, knowledge and bliss in the world, not knowing that these objects of our desire are already within us as attributes of our own soul. If we turn our focus within through worship and meditation, identifying with our true spiritual self, we can discover an infinite inner treasure that easily rivals the greatest wealth of this world.

Hinduism is a mystical religion, leading the devotee to personally experience the Truth within, finally reaching the pinnacle of consciousness where the realization is attained that man and God are one. As divine souls, we are evolving into union with God through the process of reincarnation. We are immortal souls living and growing in the great school of earthly experience in which we have lived many lives. Knowing this gives followers a great security, eliminating the fear and dread of death. The Hindu does not take death to be the end of existence, as does the atheist. Nor does he look upon life as a singular opportunity, to be followed by eternal heavenly existence for those souls who do well, and by unending hell for those who do not. Death for the Hindu is the most exalted of experiences, a profound transition from this world to the next, simultaneously an end and a new beginning.

Despite the heartening glory of our true nature spoken of in scripture, most souls are unaware of their spiritual self. This ignorance or “veiling grace” is seen in Hinduism as God’s purposeful limiting of awareness, which allows us to evolve. It is this narrowing of our awareness, coupled with a sense of individualized ego, that allows us to look upon the world and our part in it from a practical, human point of view. The ultimate goal of life, in the Hindu view, is called moksha, liberation from rebirth. This comes when earthly karma has been resolved, dharma has been well performed and God is fully realized. All souls, without exception, are destined to achieve the highest states of enlightenment, perfect spiritual maturity and liberation, but not necessarily in this life. Hindus understand this and do not delude themselves that this life is the last. While seeking and attaining profound realizations, they know there is much to be done in fulfilling life’s other three goals: righteousness, wealth and pleasure.

In some traditions, the destiny of the soul after liberation is perceived as eternal and blissful enjoyment of God’s presence in the heavenly realms, a form of salvation given by God through grace, similar to most Abrahamic faiths. In others, the soul’s destiny is perfect union in God or in the Infinite All, a state of oneness.

==The Nature of the world==
The world is the place where our destiny is shaped, our desires fulfilled and our soul matured. Without the world, known as maya, the soul could not evolve through experience. In the world, we grow from ignorance into wisdom, from darkness into light and from a consciousness of death to immortality. The whole world is an ashram in which all are evolving spiritually. We must love the world, which is God’s creation. Those who despise, hate and fear the world do not understand the intrinsic goodness of all. The world is a glorious place, not to be feared. The Vedas advise, “Behold the universe in the glory of God, and all that lives and moves on Earth. Leaving the transient, find joy in the Eternal.”

There is a false concept, commonly found in academic texts, that Hinduism is world-negating. This depiction was foisted upon the world by 19th-century Western missionary Orientalists traveling in India for the first time and reporting back about its starkest and strangest aspects, not unlike what Western journalists tend to do today. The wild-looking, world-renouncing yogis, taking refuge in caves, denying the senses and thus the world, were of sensational interest, and their world-abandonment became, through the scholars’ eyes, characteristic of the entire religion. Hinduism’s essential, time-tested monastic tradition makes it no more world-negating than Christianity or Buddhism, which likewise have traditions of renunciate men and women living apart from the world in spiritual pursuits.

While Sanatana Dharma proudly upholds such severe ways of life for the few, it is very much a family-oriented faith that supports acquisition of wealth, the pursuit of life’s pleasures and a full engagement in society’s spiritual, intellectual and emotional joys. The vast majority of followers are engaged in family life, firmly grounded in responsibilities in the world. Young Hindu adults are encouraged to marry; marriages are encouraged to yield an abundance of children; children are guided to live in virtue, fulfill duty and contribute to the community. The emphasis is not on self-fulfillment and freedom but on duty and the welfare of the community, as expressed in the phrase, “Bahujan hitaya, bahujan sukhaya,” meaning “the welfare of the many and the happiness of the many.”

Hindu scriptures speak of three worlds of existence: the physical, subtle and causal. The physical plane is the world of gross or material substance in which phenomena are perceived by the five senses. It is the most limited of worlds, the least permanent and the most subject to change. The subtle plane is the mental-emotional sphere that we function in through thought and feeling and reside in fully during sleep and after death. It is the astral world that exists within the physical plane. The causal plane pulsates at the core of being, deep within the subtle plane. It is the superconscious world where the Gods and highly evolved souls live and can be accessed through yoga and temple worship.

Hindus believe that God created the world and all things in it. He creates and sustains from moment to moment every atom of the seen physical and unseen spiritual universe. Everything is within Him. He is within everything. God created us. He created time and gravity, the vast spaces and the uncounted stars. Creation is not the making of a separate thing, but an emanation of Himself. God creates, constantly sustains the form of His creations and absorbs them back into Himself. According to Hinduism, the creation, preservation and dissolution of the universe is an endless cycle. The creation and preservation portion of each cycle is a period of approximately 309 trillion years, at which point Mahapralaya, the Great Dissolution, occurs. Mahapralaya is the absorption of all existence—including time, space and individual consciousness, all the worlds and their inhabitants—in God, a return of all things to the source, sometimes likened to the water of a river returning to the sea. Then God alone exists until He again issues forth creation.

==Hinduism in Practice==
Hinduism has three sustaining pillars: temple worship, scripture and the guru-disciple tradition. Around these all spiritual disciplines revolve, including prayer, meditation and ritual worship in the home and temple, study of scripture, recitation of mantras, pilgrimage to holy places, austerity, selfless service, generous giving, good conduct and the various yogas. Festivals and singing of holy hymns are dynamic activities.

Temples hold a central place of importance in Hindu life. Whether they be small village sanctuaries or towering citadels, they are esteemed as God’s consecrated abode. In the temple Hindus draw close to the Divine and find a refuge from the world. God’s grace, permeating everywhere, is most easily known within these holy precincts. It is in this purified milieu, where the three worlds (physical, astral and causal) commune most perfectly, that devotees can establish harmony with God, the Gods and their angelic helpers, called devas. Traditional temples are specially sanctified, possessing a ray of spiritual energy connecting them to the celestial worlds.

Temple rituals, performed by Hindu priests, take the form of puja, a ceremony in which the ringing of bells, passing of flames, presenting of offerings and intoning of chants invoke the devas and Gods, who then come to bless and help the devotees. Personal worship during puja may be an expression of festive celebration of important events in life, of adoration and thanksgiving, penance and confession, prayerful supplication and requests, or contemplation at the deepest levels of superconsciousness. The stone or metal Deity images enshrined in the temple are not mere symbols of God and the Gods; they are not mere inert idols but the forms through which divine love, power and blessings flood forth from the inner world of the Gods into this physical world. Devout Hindus adore the image as the Deity’s physical body, knowing that the God or Goddess is actually present and conscious in it during puja, aware of devotees’ thoughts and feelings and even sensing the priest’s gentle touch on the metal or stone.

[[image:121 priests.jpg|thumb|400px|121 priests pose at Sringeri Sadhana Center in Stroudsburg, Pennsylvania during a break in the 1997 Vedic worship ceremony, the biggest ever performed on American soil.]]
Priests, known as pujaris, hold a central place of honor and importance. Each temple has its own staff of priests. Some temples appoint only one, while others have a large extended family of priests to take care of the many shrines and elaborate festivals. Most are well trained from early childhood in the intricate liturgy. These men of God must be fully knowledgeable of the metaphysical and ontological tenets of the religion and learn hundreds of mantras and chants required in the ritual worship. Generally, pujaris do not attend to the personal problems of devotees. They are God’s servants, tending His temple home and its related duties, never standing between the devotee and God. Officiating priests are almost always married men, while their assistants may be unmarried young men or widowers.

It most important to live near a temple, as it is the center of spiritual life. It is here, in God’s home, that the devotee nurtures his relationship with the Divine. Not wanting to stay away too long, he visits weekly and strives to attend each major festival, and to pilgrimage to a far-off temple annually for special blessings and a break from his daily concerns.
For the Hindu, the underlying emphasis of life is on making spiritual progress, while also pursuing one’s family and professional duties and goals. He is conscious that life is a precious, fleeting opportunity to advance, to bring about inner transformation, and he strives to remain ever conscious of this fact. For him work is worship, and his faith relates to every department of life.

Hinduism’s spiritual core is its holy men and women—millions of sadhus, yogis, swamis, vairagis, saints and satgurus who have dedicated their lives to full-time service, devotion and God Realization, and to proclaiming the eternal truths of Sanatana Dharma. In day-to-day life, perhaps no facet of dharma is as crucial as the spiritual teacher, or satguru. These holy men and women are a living spiritual force for the faithful. They are the inspirers and interpreters, the personal guides who, knowing God themselves, can bring devotees into God consciousness. Hindus believe that the blessing—whether a look, a touch or even a thought—coming from such a great soul helps them in their evolution, changes patterns in their life by cleaning up areas of their subconscious mind that they could not possibly have done for themselves. They further believe that if his shakti is strong enough, and if they are in tune with him enough, they will be empowered to really begin to meditate.

In all Hindu communities there are gurus who personally look after the spiritual practices and progress of devotees. Such preceptors are equally revered whether they are men or women. In few other religions are women allowed such access to the highest seats of reverence and respect.

Within the Hindu way is a deeply rooted desire to lead a productive, ethical life, following dharma. Among the many virtues instilled in followers are truthfulness, fidelity, contentment and avoidance of greed, lust and anger. A cornerstone of dharma is ahimsa, noninjury toward all beings. Vedic rishis who revealed dharma proclaimed ahimsa as the way to achieve harmony with our environment, peace between people and compassion within ourselves. Devout followers tend to be vegetarian and seek to protect the environment. Many individuals of all faiths are concerned about our environment and properly preserving it for future generations. Hindus share this concern and honor and revere the world around them as God’s creation. Their traditions have always valued nature and cared for it. They find it natural to work for the protection of the Earth’s diversity and resources to achieve the goal of a secure, sustainable and lasting environment.

[[image:arti-deepa.jpg|thumb|400px|At the height of puja, a priest lights the sacred lamp which he will lovingly wave before the Deity as an act of veneration, carrying out liturgy that is thousands of years old. Such ceremonies facilitate communion between this physical world and the realms of the Gods.]]
Selfless service to God and humanity, known as seva, is widely pursued as a way of softening the ego and drawing close to the Divine. Charity, dana, is expressed though myriad philanthropic activities, especially feeding others.
Hindus wear sectarian marks, called tilaka, on their foreheads as sacred symbols, distinctive insignia of their heritage. Rather than burial, they prefer cremation of the body upon death, which quickly releases the soul from its earthly frame, allowing it to continue its evolutionary journey.

Perhaps one of Hinduism’s most refreshing characteristics is that it encourages free and open thought. Scriptures and gurus encourage followers to inquire and investigate into the nature of Truth, to explore worshipful, inner and meditative regimens to directly experience the Divine. This openness is at the root of Hinduism’s famed tolerance of other cultures, religions and points of view, capsulated in the adage, “Ekam sat viprah bahuda vadanti,” meaning “Truth is one, the wise describe it in different ways.” The Hindu is free to choose his path, his way of approaching the Divine, and he can change it in the course of his lifetime. There is no heresy or apostasy in Hinduism. This, coupled with Hinduism’s natural inclusiveness, gives little room for fanaticism, fundamentalism or closed-mindedness anywhere within the framework of Hinduism. It has been aptly called a threshold, not an enclosure.

Dr. S. Radhakrishnan, renowned philosopher and president of India from 1962 to 1967, summarizes in The Hindu View of Life: “The Hindu recognizes one Supreme Spirit, though different names are given to it. God is in the world, though not as the world. He does not merely intervene to create life or consciousness, but is working continuously. There is no dualism of the natural and the supernatural. Evil, error and ugliness are not ultimate. No view is so utterly erroneous, no man is so absolutely evil as to deserve complete castigation. There is no Hell, for that means there is a place where God is not, and there are sins which exceed His love. The law of karma tells us that the individual life is not a term, but a series. Heaven and Hell are higher and lower stages in one continuous movement. Every type has its own nature which should be followed. We should do our duty in that state of life to which we happen to be called. Hinduism affirms that the theological expressions of religious experience are bound to be varied, accepts all forms of belief, and guides each along his path to the common goal. These are some of the central principles of Hinduism. If Hinduism lives today, it is due to them.”

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* This article was originally published in the April/May/June 2009 edition of "Hinduism Today"